·प्रोगजशेखरकृता राज्यमीमांसा

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·GAEKWAD'S ORIENTAL SERIES.
Published under the Authority
of the Government of His
Highness the Maharaja
Gaekwad of Baroda.
UTVRTIR
B. BHATTACHARYYA, M. A., Pli. D.,
No. 1
O!!!
COLLEGE
"Atariala
कविश्रीराजशेखरकृता
FTSUTHIHIAT

·First edition, 1916
500 copies
Second edition, 1924
1000 copies
Third edilion, 1934
3000 copies

·KAVYAMIMAMSA
OF
RĀJASEKHARA
EDITED BY
THE LATE Mr. C. D. DALAL, M, A.
AND
PANDIT R. A. SASTRY
REVISED AND ENLARGED
BY
K. S. RAMASWAMI SASTRI SIROMANI
ŚRAUTA Pandir, ORIENTAL INSTITUTE, BARODA
Third Edition.
1934
ORIENTAL INSTITUTE
BARODA

·l'rinted by Ramchandra Yesu Shedge, at the Nirnaya Sagar Press,
26:28, Kolbbat Lane, Bombay.
Published by Benoytosh Bhattacharyya, Director. Oriental Institute on helal
of the Government of His Highness the Maharaja Gaek wad of Baroda,
it the Oriental Institute, Baroda.
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·CONTENTS PAGES.. vii Prefaco to the third edition Preface to tho second edition . ix Introduction to tho third edition xii Introduction to the first edition Xxviii Abbreviations xlvi Summary xlvii Text 1-112 Explanatory Notes 113 Table showing portions borrowed from the Kavyamīmāînsă 265 List of works which offered materials to Rajasekhara 266 Index of verses 267 Index of propor names... 276 Index of geographical names... 278 Appendix I. Identification of geographical names ... 281

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·Preface to the Third Edition, The third revised and enlarged edition of the Kāvyamīmāṁsā of the celebrated author Rājasekhara, published as No. 1 of the Gackwad's Oriental Series is now presented to the public. The Kāvyamīmāṁsā with which the Gaekwad's Oriental Series was inaugurated in 1916, has proved to be popular with scholars as also with Universities, many of them prescribing the work as a text-book. The first edition was exhausted in 1924, and the second in 1933, and the third is going forward with several new features which, the present editor believes, will enhance its usefulness for scholars and students alike. The text of the present edition is once more collated with MS. No. 6065 of the Oriental Institute, Baroda, which is a transcript of the original paper MS. preserved in the Wādi Pārsvanātha's temple at Pattan. This MS. is marked B. in the previous cditions. Quotations from the Kāvyamīmāṁsä in later works have been carefully compared with the text, and this has enabled the present editor to suggest several correct reaclings of obscuro and incorrect words which had crept into the previous editions. Emendations such as these have been added to the text in square brackets. Another noteworthy feature of this cdition, to which attention of readers may be drawn, consists of the claborate and exbaustivo notes on words and passages of the Kávyamīmāṁsā which have a bearing on the past history and culture of India. It is hoped that with the help of these notes, it will be possible for students to appreciate the remarkable scholarship of Rājasekhara moro fully and more comprehensively. Among the appratus criticus added to this edition, mention may be made of a list of carlier works which Rājaśckhara utilized as source-books in preparing the Kāvyaminārsū. This has been given in an Appendix to this edition. In another Appendix identifications have been given of 212 geographical names tioned in the Kävyamīınāṁsā. Many of these geographical names have been treated in Cunningham's Ancient Geography of India, and the Geographical Dictionary of Ancient and Modern India men- ·VIII PREFACE. by N. L. Dey. These two works form the background of this Appendix and no references have been given while dealing with the identifications proposed therein, unless I had reasons to diffe. from them. In preparing this edition, I have received help from various sources, and in this respect, I am particularly indebted to Mabā iuabopādhyāya S. Kuppuswami Shastri, Professor of Sanskrit Presidency College, Madras why) has offered numerous suggestions in emending the text; to Dr. B. Bhattacharyya, the Directo of the Oriental Institute Baroda, who revised the press cop: and proofs of the whole of the English portion; and to Mr. M. A Joshi of the Oriental Institute who helped in collation and prepared the press copy of the notes and appendices. Oriental Institute, Baroda, 10th July 193.4. K. S. RAMASWAMI SASTRI.

·Preface to the Second Edition. The text of the Kavyamimarisā las been based on two MSS. from the Pattan Jain Bhandārs, designated A and B. A is a palm-leaf MS. belonging to the Bhandar deposited in the Vakhatji's Sheri in Follia Walā. This is the very MS. mentioned by Dr. Peterson in his 5th Report. The MS. is very correct and reliable, but unfortunately it is incomplete and muclı injured. It is 13"x1,3" with 5 lines on a side, and consists of 4-11, 13-25, 29-54 leaves and 8 much injured pieces containing the ends of the 16th and the 17th chapters. The fourth leaf begins with heriffaf 1 ( second chapter page 4 line 2nd), and the 51th leaf ends with fleet the beginning of the 13th chapter (page 69 line ?). The first of the 8 muli injured leaves begins with quyizgatama: graan: (page 88 line 23) and ends with an ataunit yra (page 98 line 8). The MS. seems from its writing (which is Brahmanical aud not Jain) to have been copied at about the end of the 13th century A. D. It is numbered only on the left siile with numerical fiywes. This MS., licing old and very correct, has been mainly relied upou as far as available. It is a very B is a part of it paper MS. from the Bhandar deposited in the Wāļi Pärswanath's Temple at Pattan. beautifully-written old Jain paper MS. with numerical signs on the left and letters on the right to show the pagination. It contains two works (1) F1234#TATTI-FRATER (leaves 1-31a lines 3 ) (2) कविरहस्यवृत्ति ॥ commentary on Halayuddha's कविरहस्य (कविगुह्य) by faya (31a-lines 4-55). The MS. was written, like most of the MSS. of this very important Bhandar, in the time of Jinabhadrasüri, the pontiff of the Kharatara Gacchha in Samvit 1491 (A. D. 1434). The writer's colophon runs as follows:-JHAET *T**: 1 छ । मंगलं महाश्रीः । छ । संवत् १४९१ वर्षे चत्रवदि १३ शनी श्रीखरतरगच्छे श्रीजिनभद्रसूरि- विजयराज्ये भाण्डागारे काव्यमीमांसा लिखितं ॥ छ ॥ श्री। छ। श्रीः छ । श्रीः । छः श्रीः । कल्याणमस्तु । छ । श्रीः । छ । श्रीः । The portion of Ravidharma's Kavirahasyavșitti begins:- 2 ·X PREFACE. ओं नमः सर्वज्ञाय ॥ पीत्वव श्रुततीयानि यस्याः शुद्ध्यन्ति देहिनः । मुनिहंससमाकीर्णा तां नमामि सरस्वतीम् ॥ कविगुह्यं प्रसक्त्यादिभावगम्यमनेकधा । यम्य येनोपसर्गेण धातोः कविपदं च यत् ॥ अर्थतः शब्दतो वापि समान्धातून्निबध्नता । तथा हलायुधेनेदं कृतं कविरहस्यकम् ॥ आभासन्ति पदान्यत्र प्रचुराण्यपशब्दवत् । तद्विषमं स्वभावेन निबन्धनमपेक्ष्यते ॥ ततष्टीका प्रसिद्धार्था व्याख्यातुरुपयोगिनी । मुग्धबुद्धिप्रबोधार्थ क्रियते रविधर्मणा ॥ गुणान्वितां सुवर्णाढ्यां बह्वर्थी विपुलां घनाम् । इमामहं न मुञ्चामि क्षुद्रभीतेयुगामि च ॥ नौरिवेह भवाम्भोधेरुत्ताराय सतामियम् । गाढबन्धसमायोगा भिद्यते न जडेढा ॥ विचारयन्तु तां सन्तः मान्मर्यण विवर्जिताः । हलायुधकथाख्याने नूनं नारायणः क्षमः ॥ Ends:-काव्यं हलायुधकृतं कविगुद्यनाम ख्यातेह तम्य रविधर्मकृताऽस्ति टीका। अभ्यम्य तां यदि वदन्ति बुधा विवादे स्पष्टक्रियेतरपदैविजयं लभन्ते ॥ छ । अपशब्दाभासाख्ये काव्ये टीका शतानि चतुर्दशानि । रचितानि कविरहस्यं नाम काव्यं समाप्तमिति ॥ The paper संवत् १४९१ वर्ष वैशाखमुदि ५ बुधे श्रीखरतरगच्छ श्रीजिनभद्रसरिविजयराज्ये भाण्डागारे कविरहस्यं नाम काव्यमिदं लेखितेति । छ । शुभं भवतु कल्याणमस्तु लेखकपाठकयोः । छ । श्रीः । छ। श्रीः । छ। श्रीः । छ। श्रीः । छ। छ । श्रीः । MS. contains the complete text of Kävyanimāṁsä- Kavirahasya and is generally correct. As it seems to have been copied from the palm-leaf AIS. in the Jesalmere Bhandar, the copyist has occasionally crred in reading and transcribing the MS. Besides these, three MSS. of Hemachandra's Kāvyānušāsanaviveka have been also utilized in the portion borrowed by Hēmachandra from the Kāvyamīmāsāł. It may here be noted that a critical edition of Hemachandra's Kavyānuśāsana with the Viveka is a necessity. The celebrated Jesalmere Bhandar also contains an old palmleaf MS. of this work dated Samvat 1216, but it is reported to be ·PREFACE, XI not in a good state of preservation. It is a matter for regret that the valuable treasures of this Bhandar- one of the most important Bhandārs-are not accessible cven to Jain Sadhus. The work of editing from such insufficient materials was somewhat difficult, but we have tried our utmost to make the bost of the materials that were available, and have ventured to bring to light this important work of a famous writer in Sanskrit literaturo. We have to thank the keepers of both these Bhandārs for lending their MSS. and especially Sheth Vadılāl llirachand, the keeper of the Bhandār of the Wādi Pārswanīth's temple, for putting at our disposal the rarest MSS, of the Bhandar for publication in the (nekuul's Orientral Series. Our hearty thanks are irlso due to Pravartaka Rintivijayji for helping us in procuring the MSS. 1 The late Mr. Dalal, subsequent to tho publication of this book, paid a visit to Josalmer and collatod tho tout with this palm-loaf MS. Variant readings have been incorporatod in the prosont edition and this MS. is termod as C. It consists of two works (1) FotAih and (2) facere comprising 90 and 74 leaves respectively and is 11" x 2" in size. Tho colophon of Flo4#Thiet runs as: 8388 aut qiria al S HART-B. B.

·Introduction to the Third Edition. A. Rājas'ekhara-the Author. 1. His Time. Many details are given by the author himself regarding the place and period in which he flourished, and in fact, in this l'espect, ho is more prolific than any other Sanskrit dramatist of ancient times. Rājasekhara wrote not less than four tramas and from theso we can gather that he was a teacher of the king Nirbhnya- Mahendrapāla, and was patronized by his son Mahīpāla who ruled over the country of Madhyadesa with its capital at Kanauj. From the Asni inscription dated Vikrama San. 974=A.. D, 917-918 and the Siyodoni inscription ( F. 1. Vol. I. p. 171) we can ascertain that the two kings Mahendrapāla and his son Mahīpāla of Kavauj belonged to what is known as the (wjara Pratikīra dynasty. From historical and archaeological evidences, it has been possible to assign the perioıl 890–908 A. D. to Mahendrapāla, and 910-910 A. D. to his son Malıīpāla with certainty. It is thus probablo that Rājasekhara belonged to the courts of these two kings, but the major part of his life was spent in the court of Mahendrapīla who is said to be his disciple in all his plays. Mahipala (1. D. 910-940) seems to have maintained Rajasekhara only in the earlier part of his reign, since the Būlabhārata the only drama to be performod in his presence remains incomplete, and appears to be the last composition of the author. It is thus not unreasonable to assign a period of 880-920 A. D. to Rājasekhara, the present author, His connections with Āryakşemīśvara, the author of the drama Caņļakausika, may be found interesting in this connection. It was supposed that Kşemiśvara belonged to the court of King Mahīpāla (A. D. 974-1026) of the Pāla dynasty of Bengal." But from the evidences recorded below, it will be found that he belonged to the court of king Mahīpāla of the Gurjara Pratihāra 1 Kşomis'vara spoaks of ono Mahipāla as his patron king in the prelude to the Candakaus'ika. This king did not belong to the Pāla dynasty as is sometimos supposed. Seo R. D. Banerji: Pālas of Bengal, p. 73 and Pāla chronology J, B, O. R. S. XIV pp. 512, 518, 519, ·INTRODUCTION. XIII dynasty and was a junior contemporary of Rājaśckhara; and very probably joined the court of king Mahipāla after the death of Rājaśckhara. There are good reasons to identify the Mahipāla of Kșemīśvara with the king Mahīpāla of the Gurjara Pratihāra dynasty. Kșemiśvara montions that Mahīpāla defcatell Karņātas, and thus followed Candragupta Maurya of old in his foot-stops, who uprooted the Nandas with the lead of Cānakya.' This, in all probability, alludes to the incidents to which a reference has been made in the Cambay Plates of Govinda IV and the Khajuraho inscription (E. I. Vol. VII, pp. 26-47). From these we learn that the Rāştrakuta king Indra III (c. 915-917) defeated king Mahipāla of Kanauj in battle, and that the latter had great difliculties in regaining his throno; he could succeed only through the kind offices of one Chandilla king lIarşadeva. Ārya Kșomīśvara apparently alludes to this victory of his patron king ovor the Müştrakuțas with the help of the Chandêlla king, and rightly compares this with the victory obtained over the Nandas by Candragupta through the assistance of Cāņakya." But it may, however, be noticed that this incident is not alluded to by Rājasekhara, and this fact makes it probable that the fight with the Rāştrakutas took placo much later in Mahīpāla's reign. On the other hand, Ksemīśvara who mentions this incident in his drama, in all probability belonged to the court of Mahipala when Rinjasukhara was either dead or no longer there. There are further literary evidencos in support of the period 880-920 A. D. assigned to Rājasekhara. Anandavardhana who flourished in a period between 857-884 A. D. is quotel by Rājaśckhara, while Rājasekhara is quoted by Somalleva,So hala' and Abhinavagupta who flourished in the later half of the 10th century 1 2 यः संश्रित्य प्रकृतिगहनामार्य चाणक्यनीति जित्वा नन्दान् कुसुमनगर चन्द्र गुप्तो जिगाय । कर्णाटत्वं ध्रुवमुपगतानद्य तानेव हन्तुं दोर्दपायः स पुनरभवीमहीपालदेवः ।। Candakausika. I See J. O, R. Madras, VI. pp. 191-198, See Kāvganimānisā, p. 16. Sop Yas'astılakacampū, IV. II. p. 113, See Udayasundari Kathā, VIII. See Abhinayabhārati, p. 42. G.O.S. ed. 3 4 5 6 ·XIV INTRODUCTION. Ilis IVorks. Rājasekhara himself informs us in his proludo to the Bālnrāmāyaṇa that he composed six works. While replying to his critics who alleged that his drama was abnormally lengthy, he incidentally requests his readers to peruse the six works already coinposed by him in case there was any virtue in thein. From this statement it would appear that Rājasekhara composed six works already before liis Bālarāmāyaṇa was taken up in hand. Prof. Sten Konowº believes that the Karpkramañjarī was liis first composition on the ground that it was stayed at the request of his wifo Avantisundarī, which is rather unusual since all others were performed at the request of his patrou kings. This is further strengthened by the fact that it was composal at a time when he had attained the position of a Kavirāja or a prince among poets." The Viddhasālabhanjiki and the Bilarāmāyaṇa must have been composed afterwards when the author gained greater reputation and inaturity. The Bälabharata probably was his last work, since it is found to be incomplete in two ucts instead of the usual five or more, and since the Bharatavākya showing the complotion of the drama is absent. To these four works, we have to add two more, nanely, the present work Kavyamīmāinsi and the llaravilāsakāvya, the existence of which is borne out through quotations made in later works. According to his own admission, the Kāvyamīmāṁsā was projected by Rājasekhara in 18 lengthy Adhikaranas cach containing several Adhyāyas; but unfortunately, the whole of this work is not found except the first, the Kavirahasya. It will be 1 बूते यः कोऽपि दोपं महदिति सुमति लरामायणेऽम्मिन् प्रष्टव्योऽसौ पटीयानिह भणितिगुणो विद्यते वा नवेति । यद्यस्ति स्वस्ति तुभ्यं भव पठनरुचिविद्धि नः पद प्रबन्धान नैवं चेद्दीर्घमास्तां नटवटुवदने जर्जरा काव्यकथा । Būlarāmāyaṇa 1. 12. 2 Karpūramañjari, Harvard Oriontal Serios odi, p. 184. 3 Ibil, 1-9, 4 Homacandra's Kāvyānus'āsana pp. 334-335; Ujjvaladatta II. 28, ·INTRODUCTION. XV rather diſlicult to declare that Rajasekhara leſt both the works Balabhārata and Kavyanımiinsä unfinished. We would rather have to assume that at least the Kūvyamimaṁsā was completed by him, since he refers frequently to the subject matter of subsequent chapters in the earlier portion of the Kavirahasya. In that case, the probability that the Balablärata was his last work, will be great. If that be so, we are inclined to believe that the Kavyamỉmāmsā was composed at a time when his three dramas wero already in existence, and this is corroborated by the fact that the Kávyamimārsā contains numerous quotations from only two of his Sanskrit iramas, namely the Balaramayana and the Viddhasūlablañjikā.? The case of the Haravilāsa, however, is somewhat different, and we can understand from stray quotitions in later works that it was a Mahakiivya, and probably, was composed before iny of his dramas were written. In this connection it is interesting to note that if an author wants to attain the position of a Kaviraju, he has first to pass through the stage of a Mahakavi, or in other words, he has first to write it Mahäkivya' before he is able to handle more sublime themes and thereby attain the position of a Kiviraja (ver the names of 10 stages of a poet, infru, text, p. 19). From the above, it will be patent that only four works wero in existence at the time when lus Billarāmaya was composed, and not six, as mentioned by the author. But since Rājasekhara incntions six, we itre lel to itssume that at the time of writing, he may have taken into account two of his projected works, namely, the Kāvyammāmsa and the Balabharata. Now, the question arises as to whether Rajasekhara wroto any other work besides the sis already known. The later anthologies do not mention or quote from any other work of Rājasekhara 1. Soe Kavyammānisa: p. 3. l. 10. अलकारव्याख्यानन्तु पुरस्तात् । p. 10. 1. 5. रातयस्तिस्रस्तास्तु पुरस्तात् । P. 11, 1. 10. JAHRTEN & ! | otc. 2, The Nāndi vorso of tho Balabharata (gefta fona) may havo boon takon from the Kavyamımānisa, p. 71. 3. योऽन्यतरप्रबन्धे प्रवीणः स महाकविः। यस्तु तत्र तत्र भाषाविशेषे तेपु तेषु प्रबन्धेषु तसिस्तस्मिश्च रसे स्वतत्रः स कविराजः। Kavyamimilúsa, p. 19 ·XVI INTRODUCTION. besides the six already referred to. In this connection attention of scholars may be drawn to a statement made by Rājasekhara at the end of the 17th chapter of the Kāvyamīmāriisā, to the effect that if more information is needed on the subject of world geography, a reference should be made to his Bhuvanakosa. This has led some to conclude that Rājasekhara wrote a separate work called the Bhuvanakośa besides the six already known. But this does not seem to be correct. The Bhuvanakosa here mentioned is the title of the 19th or the last chapter of the 1st Adhikaraņa, and this chapter along with the other 17 Adhikaraņas is entirely lost. If a reference is made to the list of subjects given in the first chapter of the Kavirahasya, it will be readily observed that Bhuvanakośa is the title of the last chapter of the first Adhikaraṇa which the author names Kavirahasya. It may, however, be suggested that the portion of the Kiivyilmimsü beginning from the 19th chapter of the 1st Adhikitraņu. to the end was never written, and that he did not live to complete luis encyclopaedic work. If this position is accepted we may hope to find one day the missing acts of the Bālabharata from some of the still undiscovered MSS. Libraries, for it is hardly possible that our author would leave two of his works unfinished. It may be possible in modern days, but it was not so at least in ancient days. as B. The Kávyamīmāmsa. 1. Significance of the subject matter. The 7th and the 8th centuries of the Christian cra in India was a period of feverish literary activity. In this period stalwarts of literature were busy in writing compreliensive works in order to reduce the different branches of study into a system. This period saw the birth of Uddyotakara, Kumárila and Sarkarācārya, the writers, famous for their philosophical and polemical works in Hinduism. While, on the other hand, in the field of Buddhism we 1. Many verses quotod in tho anthologios may be traced out in his extant dramas and others probably belong to his lost work Haravilāsa. 2. इत्थं देशविभागो मुद्रामात्रेण सूत्रितः सुधियाम् । यस्तु जिंगीषत्यधिकं पश्यतु मडवनकोशमसौ ।। 3. देशकालविभागः, भुवनकोशः इति कविरहस्यं प्रथममधिकरणमित्यादि.

·INTRODUCTION. XVII CONpotice the towering figures of Dharmakirti, S'antarakṣita and Kamalasila. This period was immediately preceding the period in which Rājasekhara was born and flourished, and it is very unlikely that he would not be influenced by the endeavours of his predecessors in writing a comprehensive work and reduce the Alankāra literature to a system. The time was also not unripe for such an attempt. Round the classical work of Bharata, already had grown a considerable literature which was enriched with the contributions of Bhāmaha, Dandin, Rudrața and Anandavardhana, Such a rich material on the one hand pressing for a prehensive review, and the comprehensive works of the philosophical systems on the other, must have created an enthusiasm in the mind of Rājasekhara and actuated him to make an attempt to reduce the Alankāra literature to a system by writing an encyclopaedic work like the present one-the Kāvyamīmāṁsiwhich was to treat the different methods of poetics and the schools of literary criticism, with a view to put everything on a thoroughly scientific basis. In doing so, he not only followed in the footsteps of Kautilya and Vätsyāyana, in arranging the subjectmatter, but also the greut authors of Dharmamīmāṁsā and Brahmamīmāṁsā; and this is evident from the very title of his work, the Kāvyamīmāṁsā. He also ascribes to his Kāvyamimāṁsā, a divine origin following in the wake of other great systems, and gives for the first time a legendary list of succession of Gurus and disciples, and of the progenitors of the different branches of the science of poctics. The division of his subject-inatter in eighteen branches like the cighteen points of law is not only novel but also interesting and systematic. In this, however, Rājasekhara was forestalled to a certain extent by Rudrata, but nevertheless his classification is much fuller and much more exhaustive. Rudrața, for instance, had no knowledge of such branches as Vainodika, Aupanişadika, etc, which were Rājasekhara's own. The Aupanişadika chapter occurs also in the Arthaśāstra and the Kāmasūtra, and this may have induced the present author to include a chapter on Aupanişadika in his Alankāra work, giving directions to dullards as to how through Mantras and such other mystic incans one may attain poetical eminence, when natural gifts are entiruly wanting, 1. Soo. Infra Notos, pp. 123-124, 3 ·XVIII INTRODUCTION Nevertheless marked similarity also is noticeable in the method of treatment here with that of Kautilya and Vātsyāyana. For instance, the full list of subjects, treated of in the Arthaśāstra and the Kāmasūtra, appears at the end of the first chapter and here, likewise it is given at the end of the first chapter S'āstrasangraha. It is a matter of regret, however, that all MSS. of the text do not contain the full list of subjects treated in all the eiglıteon Adhikaraņas; instead, we find the list complete only for the first Adhikaraṇa or Kavirahasya with the significant remark इत्यादि at the end. Since the whole work in eighteen Adhikaraṇas is not found, it is very difficult to understand the working of the author's mind in the coinmencement of thio Kūvyamīmāṁsā; but from the imperfect materials thus at our command, it can be asserted, somewhat hesitatingly, that the first three Adhyāyās or chapters of tho first Adhikarana are intended by the author to sorve as a general introduction to the whole work of the Kävyamimiinsä in eighteen Adhikaraņas. The first Adhikaraṇa or the Kavirahasya under the circumstances begins from the fourth Adhyaya. In the first of the three Adhyâyas, the author treats of the origin of the science of poetics, and gives a comprehensive list of subjects included therein. In the second Adhyaya, he makes all attempt to determine the exact position of the science of poetics in relation to the Vedas and post-Vedic literature, and declares that the science dealt with by him should be regarded as the seventh Vedānga and the fifteenth Vidyasthāna. It is well known that the Vedāngas in Sanskrit literature are six in number, and the number of sciences has been fixed at fourteen, and in none of these lists the science of poetics is included. In support of his contention, Rājasekhara goes on to say that the science of poetics has the function of correctly interpreting the Vedic texts, and thus serves the purpose of an auxilliary to the Vedas in the same way as the other Vedāngas. He further asserts that the function of the fourteen Vidyāsthānas, is to impart the knowledge of the Dharma and Artha, and since from the science of poetics or Kāvyavidyā the same result is obtained, it should also be regarded as one of the Vidyāsthānas, and should not be distinguished from the other fourteen sciences.

·INTRODUCTION, XIX Rājasekhara goes a step further and declares that the science of poetics leads the way to emancipation or Mokşa, and as such its status is not different from the six systems of philosophy. In the third or the last Adhyāya of the introduction, Rājasekhara shows how emancipation can be obtained by poets and how they can experience inmense bliss and freedom from worldly troubles, through the correct understanding of the Sahityavidyā and Kāvyapuruşa, which are primarily designed for the emancipation of man. The systems of philosophy advocate the real knowledge of Dharma or Brahman as means of obtaining salvation; even so, the correct knowledge of Kūvyapuruşa, the son of Brahman and Sarasvati, leads to the realisation of Brahman and the consequential emancipation from the chain of existence. To return to the subject matter, the third chapter treats of the origin of the Kūvyapuruşa, his connection with Kavi, Vālmiki and Vyāsa, his marriage with Sāhityavidyā, his wanderings with her throughout India, the creation of Vrttis, Pravrttis and Rītis at different places and the resolve of the couple to reside permanently in the minds of poets. While concluding the chapter, the author declares that those pocts who become immortal by virtue of their compositions enjoy cternal bliss in heaven in a divine form; and those who can realise the Kūvyapuruṣa, obtain emancipation both here and hereafter. As has been said already, the subject-matter of the first Adhikaraņa or the Kavirahasya commences from the fourth chapter and may be sub-divided under three broad heads : (1) the equipments necessary for a poet, (2) the rules to be observed by him, (3) and the methods harmful to him. The first subject is treated of in six chapters (4-9) where such topics as Padavākyaviveka, Pathapratişthā, Kāvyārthayoni, and Arthavyāpti are dealt with. The second subject as stated above is covered by the tenth chapter which is one of the inost interesting chapters of the Kavirahasya. This chapter commences with the remark” that 1. Cf. तयोश्च कविलोकस्वर्गसर्ग तमकल्पयेताम् । यत्र काव्यमयेन शरीरेण मर्त्यमधिवसन्तो दिव्येन देहेन कवय आकल्पं मोदन्ते । इत्येष काव्यपुरुषः पुरा सृष्टः स्वयंभुवा । एवं विभज्य जानानः प्रेत्य चेह च नन्दति ॥p. 10. 2. स्त्थिंकारं धनैरथैर्युत्पन्नमनसः कवेः । दुर्गमेऽपि भवेन्मार्गे कुण्ठिता न सरस्वती ।। गृहीतविद्योपविद्यः काव्यक्रियायै प्रयतेत । p. 49.

·XX INTRODUCTION. when a poet is armed with all the equipments necessary as pointed out previously, he may commence to write and while doing so, observe certain rules of discipline. Thereafter, in the same chapter the routine to be followed by a poet for all the twenty four hours is given along with certain secret hints, which may be found very instructive. Among others, this chapter lays down that(i) a poet should not read his composition to others so long as it is in an incomplete stage; (ii) he should not be vain on account of his good composition; (iii) he should obtain the opinion of his superiors on his own composition before publication; (iv) he should not create an enmity with impostrous poets (v) and he should prepare several transcripts of his composition as soon as final touches had been given. At the end, the author lays down special rules to be observed by a king when he himself happens to be either a poct or a patron of thic men of lotters. The third subject is dealt with in eight chapters (11-18) where the author enumerates various methods considered to be definitely injurious to tho reputation of a poet, and gives copious instances to illustrato his view-point. This part deals with plagiarism, conventions of ancient poets, Indian geography and the geography of the world, ancient methods of description of incidents, places and men, computation of time, and seasonal changes. While concluding, the author reminds his readers that the methods adopted by ancient writers are the best and should be adhered to, while modern methods which run counter to the usage established by the ancients should be abandoned. How immensely helpful these hints are, can be realized only too well by one who can detect the unruly tendencies in modern literature in the extreme pursuit of the phantom of realistic art ! II. Ilistorical Data. As has been shown already, the contributions of the Kāvya. mimāṁsā to the elucidation of the cultural history of India, are many and varied. No less important are its contributions to the political history of Medicüval India. While illustrating the 1, Cf. देशेषु पदार्थानां व्यत्यासो दृश्यते स्वरूपस्य । तम तथा बधीयात्कविबद्धमिह प्रमाणं नः॥ p. 111. अनुसन्धानशून्यस्य भूषणं दूषणायते । सावधानस्य च कवेर्दूषणं भूषणायते ॥ p. 112.

·INTRODUCTION. XXI different topics of the Kāvyamimāṁsā, Rājasekhara cites examples and verses from earlier works, which throw a flood of light on the problems of political history. And, here, it is proposed to give a few examples which definitely show that the Kávyamīmāṁsā is able to help historical studies. verse. The verse par ula: etc. occurs on p. 47 of this work, and this is given manifestly as an example of Muktaka or a detached But the verse alludes to a very important historical fact. On information obtained from this verse and other sources such as the fragments of the Devicandragupta' of Viśākhadatta, tho Sañjan Copper-plates of Amoghavarşa’ I, (A. D. 873), Bāņa's Harşacarita, S'ụngāraprakāśat of Bhoja, the Cambay plato of Govinda' IV, the Nāțyadarpaņa of Rāmacandra and Guņacandra," scholars have come to certain conclusions regarding the history of the Gupta period, and these may be summarised as follows. There was a king called Rāmagupta who succeeded his father Samudragupta and preceded his brother Candragupta II, and ruled for a sliort time. Dhruvadevi was the queen of Rāmagupta originally. This king encountered a certain Khasa or S'aka king in the Himālayas and was defeated. He saved himself and his kingdom by entering into an ignominious treaty with the victor. According to the terms of the treaty he was to surrender his queen Dhruvadevī to the Khasa or Saka king in return for the liberty of himself and his kingdom. The humiliating treaty enraged his brother Candragupta, who, disguised hinself as Queen Dhruvadevī, went to the enemies' camp at Alipura and killed the Khasa or S'aka king. On his return, he killed his brother Rāmagupta also and married his widowed queen Dhruvadevī. There is a general agreement amongst scholars regarding the historioal facts just mentioned, but on certain details there still rages a great controversy. The controversy centres round the 1. Portions from this drama are found quotod in the s'rigāraprukās'u and tho Nāțyadarpana (G. 0. S. odi. ). 2. E. I. Vol. XVIII p. 248. 3. अरि(लि)पुरे च परकलत्रकामुकं कामिनीवेषगुप्तश्चन्द्रगुप्तः शकपतिमशातयत् । 4. स्त्रीवेषनिहुतश्चन्द्रगुप्तः शत्रोः रकन्धावारं अलिपुरं शकपतिवधायागमत् । 5. E, I. Vol. VII. p. 36. 6. G, O. S. odi.

·XXII INTRODUOTIQN. name of Khasādhipati or S'akādhipati, his identity and the identification of his capital Alipura, the author of the verso in question, and the king to whom it is addressed. The verse in question makes it clear that the engagement between the Gupta and Khasa kings took place in the Himālayan region, and thus it can be said that Alipura, the capital of the Khasa or S'aka king, was situated somewhere in the Himālayas. Morcover, according to Rājasekhara's version the victor is called the Khasādhipati, and the Gupta king is named as S'armagupta or Senagupta instead of S'akādhipati and Rāmagupta ob. tained from sources other than the Kāvyamīmāṁsā. Thore seems to be an agreement at least on one point, namely, that the S'aka or Khasa king referred to in the passage in question, should represent a Kushāņa king of the Punjab but not a S'aka Satrap of cither Malwa or Mathura. But in this connection, attention of scholars is required to be invited to the form Khasādhipati as recorded in the Kāvyamīmāmsā. This particular word means a king of the Khasas or the Khasa tribes the existence of which is made well-known by the Rājatarangiņi of Kalhaņa. Sir Aurel Stein located the tribe in the widely distributed regions of the western Himalayas flanking the boundaries of Kashmir with their capital at Rajapuri also known as Khasālaya or Khasāli. The Khasas before the Gifth century A. D. became very powerful and seized the kingdom of Kashmir and ruled over it. Is it not possible to identify this Alipura with Khasāli, the capital of the Khasas? Let us now discuss the question regarding the identity of the person to whom the verse in question is addressed. Various scholars have advanced different opinions, and let us examine them in detail and make an attempt to discover whether any finality can be reached. A clue to this vexed question is, however, supplied by the verse itself in its fourth line: गीयन्ते तव कार्तिकेयनगरस्त्रीणां गणेः कीर्तयः । In interpreting this line Prof. Altekarhas fallen into the regrettable error of taking the word Kārttikeya in the vocative and in assuming that the verse is addressed to Kārttikoya who is obviously the Kumāragupta I of the Gupta dynasty. 1. M. A, Stein. Rājatarangint translation. Vol. I, 317, 2. J. B, O. R. S. Vol, xiv. p. 223.

·INTRODUCTION. XXIII Mr. K. P. Jayaswal disagrees with the above and points out that the word Kārttikeya goes with the word Nagara, and adds that "no poet would have mentioned so irreverently about Kumāragupta's own mother to him." Against this, it may be pointed out that the verse does not show any irreverence on the part of the poet whose business obviously is to eulogise his patron king Kumāragupta or Skandagupta of the Gupta dynasty. For, the weakness of Rāmagupta was already made known by Candragupta, also by Dhruvadevī who discarded her worthless husband and inarried his brother. Moreover, the descendants of the Gupta dynasty out of disrespect for Rännagupta vever mentioned him in the inscriptions as ono of their ancestors. Dr. D. R. Bhandarkar who discussed the question 2 is disposed to agrco with Mr. Jayaswal in considering the word Kārttikeyanagara as the name of a town, and identified it with the ancient village of Vaijanātha in Almora District U. P. on the authority of the Pāņdlukeśvara copper plate and the Täleśvara charters. Dr. Bhandarkar believes, however, that the verse is addressed to Candragupta, though he is not named expressly therein, later on, If this position is accepted, Mr. Jayaswal's objection of showing irreverence to Kumüragupta's mother or Dhruvarlevi is set at rest. Prof. V. V. Mirashi, however, remarks that the view held by Dr. Bhandarkar is hardly convincing, because the vorse quoted here is a Muktaka or a detached stiunza which should not only be complete in itself but also contain the name of the king addressed to. He, thus, compits the same mistake as Prof. Allokar, and takes the word Kārttikeya in the vocative, but advances the new theory that the word stands for the king Mahipäla of the Gurjara Pratihāra dynasty, the patron of Rājasekhara. In support of this, he further adds that Kşemīśvara in the Bharatavākya of his drama Caņdakausika similarly calls his patron Mahipala as 1. J. B. O. R. S. Vol. XVIII, p. 20. 2. Malaviya Commemoration Volume. p. 194, 3. I. A, XXV, 178, and E. I. Vol. XII1, pp. 116-118. 4. 1. A. 1933, p. 201, ·XXIV INTRODUCTION. No poet, Kārttikeya.' According to him the verse, in question, was either Rājasekhara's own or a composition of one of his contemporaries in the court of the king Mahīpāla which he inserted in his Kāvyamīmāṁsā. Against Prof. Mirashi's theory, it may be pointed out that if the word kārttikeya is taken out, the word Nagarastrinām will have to be taken as a separate and independent word. howsoever dull, would ever think of saying that the fame of a king was sung by women of the town and afterwards would leave the name of the particular town undisclosed. Nor does it seem reasonable to suppose the poet to be so particular as to exclude the villagewomen from participating in the praising or singing campaign, by specially naming the women of the town. It is not also possible to suppose that it is the women of the towns who took part in singing culogies, while the village-women refrained from doing so! The expression afturi Trù: is sufficient to include all women, both of towns and villages, and why should it be necessary to qualify a loti with the word in which reduces the value of the culogy? It is not also correct to assume that the Muktaka verse which should be complete in itself should also contain the name of the person to whom the Muktaka is addressed. On the same page 47, there are five other examples 'of Muktaka verse, and in none of these there is any mention of the name of the person uddressed to. Under the circumstances we can only confirm the view of Messrs. Jayaswal and Bhandarkar both of whom rightly take Kārttikeyanagara as one word and identify it with the place where Ramagupta first sustained a defeat, and later, the Khasa king was killed by Candragupta II in whoso praise the verse in question is composed. Accordingly, the last lines of the verse, in question, muy be translated thus: "Your fame is sung today by the women of the Karttikeyanagara in the same Himalayas which is resonant with the singing of the Kinnaras living in the hollows of spacious caves. 1. येनादिश्य प्रयोगं धनपुलकभूता नाटकस्यास्य हर्षान् वस्खालङ्कारहेम्नां प्रतिदिनमकृशा राशयः सम्प्रदत्ताः। तस्य क्षत्रप्रसूतेः भ्रमतु जगदिदं कार्तिकेयस्य कीर्तिः पारे क्षीराख्यसिन्धोरपि कवियशसा सार्धमग्रेसरेण ।।

·INTRODUCTION. XXV From the foregoing discussion, it is easy to discover that the verse in question is addressed to Candragupta Vikramaditya by a contemporary poet, and is quoted by Rājasekhara in his Kāvyamimāṁsā. The second marriage of Dhruvadevī with Candragupta is also to be taken as a settled historical fact, on the authority of the Sanjan' copper plate of Amoghavarşa I and the Cambayº plate of Govinda IV. Two more verses are quoted by Rājasekhara on pp. 60-61 of the Kāvyamīmāṁsā, which throw a flood of light on the vexed question of the date of Kālidāsa. The verses in question record a conversation between a king and his messenger, Identical ver ses are subsequently quoted by Bhoja in his S'ộngāraprakāśa with the remark that here the king represents Vikramāditya and the messenger, Kālidāsa.8 The verses in question refer to a message, conveyed by Kālidäsa from the king of Kuntala to Vikramăditya who approves of the request made by the Kuntala king. Tradition ascribes to Kālidāsa a work called the Kuntaleśvaradautya, and as the subject-matter of the verses quoted here relates to the diplomatic communications of the king of Kuntala, it is not unreasonable to suppose that the verses belonged to the now lost work Kuntaleśvaradautya of Kālidāsa. A verse from the same work quoted in the Aucityavicāracarcā by Kşemendra refers to the fact that Kālidāsa as an envoy of Vikramāditya was not respected in the court of the Kuntala king who made him sit on the ground and did not offer a seat. It thus transpires that Kālidāsa was sent as an envoy to the court of the Kuntala king Pythvisena Vákāțaka, a subordinate of the Gupta kings, by Candragupta II Vikramāditya and that on account of Kālidāsa's mediation friendly relations were established between the two royal houses. This embassy further helps us in fixing a suitable date for Kālidāsa, and once for all ends the controversy regarding his time, raging 1. हत्वा भ्रातरमेव राज्यमहरदेवीं च दीनस्तथा लक्षं कोटिमलेखयत्किल कलौ दाता स गुप्तान्वयः।। E. I, Vol. XVIII. p. 248 2. सामध्ये सति निन्दिता प्रविहिता नेवाग्रजे क्रूरता बन्धुस्त्रीगमनादिभिः कुचरितैरावर्जितं नायशः। शौचाशौचपरामुखं न च मिया पैशाच्यमङ्गीकृतं त्यागेनासमसाहसैश्च भुवने यः साहसाङ्कोऽभवत् ।। E. I, Vol. VII. p. 36. 3. See. infra. Notes. p. 215. Ibid. 4 ·XXVI INTRODUOTION. for the last fifty years or more, in which celebrated scholars have taken part. Kālidāsa must be a contemporary of Candragupta Vikramāditya and the Vākāțaka Přthvisena, and thus he should be assigned a period corresponding to the last quarter of the fourth century A. D. While mentioning the four boundaries of the city of Kanauj, the capital of his patron kings Mahendrapāla and Mabipāla, Rājasekhara clears up several topographical problems connected with the city, and helps us in identifying certain well-known names of places, identifications of which were open to doubt for a long time. On page 94 he mentions four places: Vāmanagvāmi, Gādhipura, Kālapriya and Brahmaśilā, and all of them seem to be situated in the four directions of the city of Kanauj. Thus, we can understand that these four well-known places in literature were the suburbs of the city of Kanauj. For further details the attention of readers is invited to the page 243, of the explanatory notes appended to this cdition. The Geography of Bhāratavarş(t. Rājaśukhara's fondness for geography is borne out by the numerous references to geographical names mentioned in his works, and the ancient notions regarding world geography find a lucid expression in these prorluctions. He gives geographical references in abundance, particularly in two works, namely, the Bālarāmāyāņa and the Kāvyamimāṁsā. In the former work, while staging the Sítāsvayamvara, a short drama supposed to be a composition of the sage Bharata, and while describing the aerial flight of Rāma to Ayodhyā from Lankā, he mentions a large number of places in succession, and these references enable us to fix their location with a fair degree of exactitude. In the 17th chapter of the Kāvyamīmāṁsā, the author gives by far the most prolific geographical information regarding the divisions of the world, and the details of the Bhāratavarşa, and this represents the expert knowledge of geography as prevalent in his time. The earth, is divided into seven great islands encircled by seven oceans. Among these the Jambūdvīpa is 1. For furtlier information on the date of Kālidāsa and his connections with Vākäțaku kings, see my Paper entitled "King Pravarasena and Kālidāsa' in the Proceodings of the Seventh All-India Oriental Conference, 1933. he says, ·INTRODUCTION, XXVII situated in the centre and its chief mountain is Mahāmeru. The Mabāmeru, again, is surrounded by the country called the Ilāvịtavarşa. The third country to the south of the Malāmeru is called the Bhāratavarza. The Bhäratavarşa is divided into nine parts, and the Kumā. rīdvipa, one among them, corresponds with the present India from Cape Comorin to the Himalayas. This country is also known as the Cakravartikşettra. One who holds sway over the whole country is called a Cakravartin, while the king who is able to conquer all the nine parts of the Bhāratavarşa is called a Samrāt. The author mentions the seven Kulaparvatas of the Kumā. ridvipa, and says that the Āryūvarta is a part of this Dvipa. Kumārīdvīpa is again subdivided into five parts with Madhyadeśa in the middle, and four other countries in the four directions of the middle country, which according to him is bounded by the Prayāga, the Vindhya range, the Vinaśana and the Himālayas. lle places the other four countries as follows: from Benares in the east, from Māhişmatī in the south, from Devagabhā in the west and from Prthūdaka in the north, all extending to the extreme limits of India. In the same chapter Rājasekhara gives innumerable details regarding the countries, rivers, mountains and the agricultural products of all the five divisions of the Kumārīdvīpa. These geographical names have been collected together in an appendix in which an endeavour has been made to identify the places mentioned by him, as far as practicable, since it has now become difficult to trace the old sites. It is noteworthy, however, that Rājasekhara includes such countries as Arabia, Persia and Afghanistan in the northern India, and distinguishes Simhalit from Lankā. Moreover, he includes in his list many new names not known to the Purāņas, or the Rāmāyaṇa and the Malābhārata, or even to the Greek or Arabic historians and the Chinese travellers, as will be seen from the appendix already referred to.

·Introduction to the First Edition. The author of this first work in the Gaekwād's Oriental Series, now presented before the public, is Rajasekhara, the well-known author of the four dramas, Bālarāmāyaṇa, Bālabhārata, Viddhasalabhañjikā and Karpūramañjari. Rājas'ekhara's Ancestry. Rājasekhara calls himself in the Kāvyamimāṁsā as Yāyāvariya' (born in the Yāyāvara family). He seems to have been better known as Yāyāvara to his successors. Dhanapāla in the introductory verses to his Tilakamañjarī refers to him as Yāyāvara Kavi. The author of the Udayasundari refers to him simply as Yāyāvaras and praises him for his dramatical skill. यायावरीयः सहिप्य मुनीनां मतविस्तरम् । p. 2. 1. 11. "पञ्चमी साहित्यविद्या" इति यायावरीयः। p. 4. 1. 14. 2 समाधिगुणशालिन्यः प्रसन्नपरिपक्रिमाः। यायावरकवेर्वाचो मुनीनामिव वृत्तयः ।। Tilakamaſjari 33. 3 यायावरः प्राशवरो गुणराशंसितः सूरिसमाजवर्यैः । नृत्यत्युदारं भणिते रसस्था नटीव यस्योढरसा पदश्रीः।। Udayasundarf 8th Uc'hc'hhväsa. This Udayasundari is a Champūkathā composed by Sottala, a Vālabha Kayastha of Lătados'u, in emulation of Bāna's Harshacharita, about Samvat 1050, in the reign of Vatsarājr and under the patronago of king Mummuniräja of Korkaņa. The author has, over and above his own casto and lineage, given about 25 verses in praise of old poets. It will be instructing to quote these verses; such verses are rare in Sanskrit literature. लक्ष्मीभुजो भुवि सभापतयः क नाम सन्तीह सम्प्रति गुणेष्वनुरागवन्तः। ये हि प्रलीनखलरोलभराः सुखेन शृण्वन्ति संसदि कवीन्द्रसुभाषितानि ।। श्रीविक्रमो नृपतिरत्र पतिः सभानामासीत्स कोऽप्यसदृशः कविमित्रनामा। यो वार्थमात्रमुदितः कृतिनां गृहेषु दत्वा चकार करटीन्दुघटान्धकारम् ॥ हाले गते गुणिनि शोकभराभूवुरच्छिन्नवायजडाः कृतिनस्तथाऽमी । यत्तस्य नाम नृपतेरनिशं स्मरन्तो हेत्यक्षरं प्रथममेव परं विदन्ति । श्रीहर्ष इत्यवनिवर्तिषु पार्थिवेषु नाम्नैव केवलमजायत वस्तुतस्तु । गीहर्ष एष निजसंसदि येन राज्ञा सम्पूजितः कनककोटिशतेन बाणः ॥ सृष्टं तदत्र युवराजनरेश्वरेण यहुष्करं किमपि येन गिरः श्रियश्च । प्रत्यायनं स्फुटमकारि निजे कवीन्द्रमेकासने समुपवेशयताऽभिनन्दम् ॥

·INTRODUCTION. XXIX Some partioulars about the ancestry of the author can be gathered from his dramas. He is very proud of his family and his literary देव्याः सरोजदलधामनि हंसपृष्ठे लीलायितं चरणयोर्दितवेन यखाः। सा किं रमामिषनिषण्णविलोचनेषु चिल्लाविपेषु ............टं करोति ।। योऽप्यस्ति लोकतिलकः क्षितिपेषु कश्चिदेकः कृती स्वयमसावनुपासितोऽपि । निर्मथ्य पत्ररथनाथ इव द्विजिह्लान् क्षिप्तामृतं नभसि नेष्यति काव्यकुम्भम् ।। ये नाम केचिदमुना कवितारसेन व्यासादयः कृतधियो भुवनेषु सिद्धाः । तेषामुपासितपदाः कवयः किमन्यदासादयन्ति परमत्र सुवर्णसिद्धिम् ।। बाणस्य हर्षचरिते निशितामुदीक्ष्य शक्तिं न केऽत्र कवितास्त्रमदं सजन्ति । मान्धं न कस्य च कवेरिह कालिदासवाचा रसेन रसितस्य भवत्यवृष्यम् ।। I Uchohhvasa, आसीदसीमस्फुरितोरुधामा वाल्मीकिरपण्यतमो मुनीनाम् । निर्वाणमागैकमहाध्वगोऽपि सम्पर्कितः कापि न यो रजोभिः । ब्राझीनिवासानुमितः स साक्षादेवः स्वयंभूरिति कीर्तितो यः। कोऽन्यः क्रमस्थापितवर्णसारां सृष्टिं कृती काव्यमयी चकार । छन्दोविचित्रनिहितैः क्रमेण पदैः समन्तान्मसृणीकृतोऽन्तः । निषेव्यते वर्णमहाटवीषु यस्यैष दिव्यैरपि काव्यमार्गः ॥ वंशः कवीनामुदियाय तस्मान्मूर्धा धृतो भूमिभृतां गणेन । अच्छिद्रितेऽपि त्रिदशप्रतोषी वाणीगुणः स्फूर्जति कोऽपि यत्र ।। यस्मिन्नभूदग्रभवः कवीनां व्यासो मुनिर्यस्य गुणैविजेतुः । ध्वजच्छटेवोत्रतसोमवंशमालम्बिता वल्गति भारते गीः ।। कविर्गुणाख्यः स च येन सृष्टा बृहत्कथा प्रीतिकरी जनानाम् । या संविधानेषु सुसन्धिबन्धैः निपीड्यमानेव रसं प्रसूते ।। स कश्चिदालेख्यकरः कवित्वे प्रसिद्धनामा भुवि भर्तृमेण्ठः । रसप्लवेऽपि स्फुरति प्रकामं वर्णेषु यस्योचलता तथैव ।। ख्यातः कृती सोऽपि च कालिदासः सुद्धा सुधारवादुमती च यस्य । वाणीमिषाच्चण्डमरीचिमोत्रसिन्धोः परं पारमवाप कीर्तिः ॥ बाणः कवीनामिह चक्रवर्ती चकास्ति यस्योज्वलवर्णशोभम् । एकातपत्रं भुवि पुष्पभूतिवंशाश्रयं हर्षचरित्रमेव ।। मान्यो जगत्यां भवभूतिरायः सारस्वते वमंनि सार्थवाहः । वाचं पताकामिव यस्य दृष्ट्वा जनः कवीनामनुपृष्ठमेति ।। सामन्तजन्मापि कवीश्वराणां महत्तमो वाक्पतिराजसूरिः। यश्छाययाप्यन्यमपीडयन्सनुत्पादयत्यर्थमनन्यदृष्टम् ॥ वन्धः स विद्वानभिनन्दनामा विश्रम्भपात्रं च वचोधिदेव्याः। समर्पिता यस्य खलु स्वकीयकोशाधिकारेषु सुवर्णमुद्रा । बायापरः प्राशयरो गुणझैराशंसितः सूरिसमाजवर्यः । नृत्यत्युदारं भणिते गुणस्था नटीव यस्योढरसा पदश्रीः॥ बभूवुरन्येऽपि कुमारदासभासादयो हन्त कवीन्दवस्ते । यदीयगोभिः कृतिनां द्रवन्ति चेतांसि चन्द्रोपलनिर्मलानि ।। तस्मिन्सुवंशे कविमौक्तिकानामुत्पत्तिभूमौ कचिदेकदेशे । किञ्चित्कविः सोहल इत्यजातनिष्पत्तिरासीमलविन्दुरेव ।। यो वत्सराजेन वरेण राज्ञा लाटावनीमण्डलनायकेन । सूक्ष्मादृढस्तोकगुणाश्रितोऽपि मित्रीकृतो भानुमतेव पनः ।। .

·XXX INTRODUCTION, forefathers. Akālajalada his great-grandfather was famous for his poetical genus. His verses were plagiarized by Kādambarīrāma in his drama.3 Surānanda, Tarala and Kavirāja also belonged to this family. Surānanda seems to have been famous at the court of Chedi. It appears from his opinion quoted in the Kavyamimāṁsā that he had written some work on poetics. "Tarala was also a poet of some eminence. Nothing is known about Kavirāja. Rājasekhara's father Durduka or Duhika was a great minister ( Mahā mantri), and his mother's name was S'ilavati. Rājas'ekhara's caste. We have seen that Rājasekhara belonged to the Yāyāvara family, but it is not clear whether he was a Brāhmaṇa or a Kshatriya. His position as the Upadhyāya of King Mahendrapāla speaks in favour of his being a Brāhmaṇa; while the name Rājasekhara and the fact that his wife was of the Chahuānaº family may lead one to think that he was a Kshatriya. Rājas'ekhara not a Sectarian. As the author of the Haravilāsa, Rājasekhara might be regarded to have been a staunch S'aiva, but from the quotations in the Kāvyamimāṁsa’ in praise of Vishnu, it seems that he was not a sectarian. On the other hand, from the Mangala verse of the Haravilāsa, it is clear that he believed 1 जडेन तेनोदयसुन्दरोति कथा दुरालोकिनि काव्यमार्गे । सारस्वतालोकलवैकदृष्टा सृष्टा कविम्मन्यमनोरथेन । सा चात्र देवीभवने निवृत्तशापार्तिना बाणकवीश्वरेण । कविश्रमोद्भूतकृपेण सम्यक् श्रुता धृता हृद्यभिनन्दिता च ॥ वागीश्वरं हन्त भजेऽभिनन्दमर्थेश्वरं वाक्पतिराजमीडे । रसेश्वरं स्तौमि च कालिदासं बाणं तु सर्वेश्वरमानतोऽस्मि ।। 8th Uchohhvāsa, स मूर्तो यत्रासीद्गुणगण इवाकालजलदः सुरानन्दः सोऽपि श्रवणपुटपेयेन वचसा । न चान्ये गण्यन्ते तरलकविराजप्रभृतयो महाभागस्तस्मिन्नयमजनि यायावरकुले । Balaramiyana I, 13. 2 अकालजलदेन्दोः सा हृया वचनचन्द्रिका । नित्यं कविचकोरैर्या पीयते न च हीयते ।। Rājas'ekhara quoted in the Sūktimuktăvali. 3 अकालजलदश्लोकैश्चित्रमात्मकृतैरिव । जातः कादम्बरीरामो नाटके प्रवरः कविः ॥ Ibid. 4 नदीना मेकलसुता नृपाणां रणविग्रहः । कवीनां च सुरानन्दश्चेदिमण्डलमण्डनम् ।। Ibid. 5 यायावरकुलश्रेणेहीरयष्टेश्च मण्डनम् । सुवर्णवर्णरुचिरस्तरलस्तरलो यथा ।। Ibid, 6 चाहुआणकुलमोलिमालिआ राअसेहरकइन्दगेहिणी । भत्तुणो कामवन्दिसुन्दरी सा पउजयिदुमेअमिच्छइ ।। Karp. 1, 11. 7 pp. 42, 43.

·INTRODUCTION. XXXI in the unity of the three godheads. It appears from the 'Yasastilaka Champū of Somadeva that in Rājasekhara's works honour was done even to Jinās when occasion arose. His wife an accomplished lady. Rājasekhara quotes thrice* in the Kāvyamīmāṁsā the opinion of his wife Avantisundari. It would thus appear that she had composed some work on rhetorics. The Karpūramañjari was also first acted at her desire. Rājas'ekhara's date. It is understood from the prologues of Rājasekhara's dramas that he was the Upadhyāya of Mahūndrapāla, king of Kanouj, and was also patronized by his son and successor Mahipāla. The Siydoni inscription tells us that king Mahēndrapāla was reigning in 903 and 407 A. D. and Mahīpāla in 917 A, D. (Epigraphia Indica Vol. I, p. 171). Independent of his references to king Mahöndrapāla of Kanouj in his works, we can fix his date from other sources too. lle quotes in the Kāvyamīmürsā Vākpatirāja,the author of Gaudavaho, and also Udbhațat who was the Sabhāpati of Jayāpida, king of Kashmir, who reigned from 779 to 813 A. D., and quotes Anandavardhanas who flourished in the reign of Avantivarmi of Kashnjir (857-884 A. D.). Rajasekhara is also referred to by Somadova in the Yaśastilaka Champū which was completed in 960 A. D. and praised by Sot tala who flourished about 990 A. D. From this wo can conclude that Rajasekhara lived about 880-920 A. D. 1 तथा उर्वभारविभवभूतिभर्तृहरि भर्तृमण्ठकण्ठगुणाढ्यव्यामभामवोमकालिदामबाणमयरनारायण कुमारमाधराजशेखरादिमहाकविकाव्येषु, तत्र तत्रावसरे भरतप्रणीते कान्याध्याये, मर्वजनप्रसिद्धेषु तेषु तेषुपाख्यानेषु च कथं, तद्विषया महती प्रसिद्धिः । ( 4th Asvasa, pt. lI, p. 113. 2 "इयमशक्तिन पुनः पाकः" इत्यवन्तिसुन्दरी । p. 20 "विदग्धभणितिनिवेद्यं वस्तुनो रूपं न नियतस्वभावम्” इति अवन्तिमुन्दरी । तदाह- 'वस्तुस्वभावोऽत्र कवेरतत्रो गुणागुणावुक्तिवशेन काव्ये । स्तुवन्निबध्नात्यमृताशुमिन्दु निन्दस्तु दोषाकरमाह धूर्तः ॥' p. 46. "अयमप्रसिदः प्रसिद्धिमानहम्, अयमप्रतिष्ठः प्रतिष्ठावानहम्, अप्रक्रान्तमिदमस्य संविधानकं प्रक्रान्तं मम, गुडूचीवचनोऽयं मृद्वीकावचनोहम् , अनादृतभाषाविशेषोऽयम् अहमादृतभाषाविशेषः, प्रशान्तशातृकमिदम्, देशान्तरितकर्तृकमिदम्' उत्सन्ननिवम्धनमूलमिदम् , म्लेच्छितकोपनिबन्धनमिदमित्येवमादिभिः कारणैः शब्दहरणे अर्थहरणे चाभिरमेत" इति अवन्तिसुन्दरी । p. 57 3 "न" इति वाक्पतिराजः p. 62. 4 "तस्य च त्रिधाऽभिधाव्यापारः" इत्यौद्भटा: pp. 22 and 44. 5 "प्रतिभाव्युत्पत्योः प्रतिभा श्रेयसी" इत्यानन्दः p. 16.

·INTRODUOTION, Rāja s'ekhara a Kavirāja. Rājasekhara calls himself not a Mahakavi, but a Kavirāja.' According to the Kávyanimāṁsā there are ten' stages of poetical skill. The sixth is that of a Mahakavi and the seventh that of a Kavirāja. Kavirāja is defined* as one who is unrestrained in various languages, various sorts of poetical compositions and various sentiments. Thus a Kaviraja is one stage further than a Mahākavi and Kavirājas are rare.' The sequence of Rājas'e khara's known works and his undiscovered works. From the Karpüramañjari 1-9, it is understood that Rājasekhara began his literary career as a Bălakavi, so called from his Bālarāmāyaṇa and Bālabhārata. It is thus evident that these two dramas are his early productions; so also Viddhasalabhañjikā. The Karpūramañjarī and the Kavya. mimâmså are his later productions, as by this time he had achieved fame as a Kavirāja. Verses from his three Saṁskřita dramas are found quoted in the Kāvyamimāṁsā. Hemachandra in his "Kāvyānusāsanaviveka (page 335) gives the example of Rājasekhara's Haravilāsa as a poem bearing the name of its author. The same author quotes two verses fron Haravilåsa both evidently from the first canto. The first is the benedictory verse of the poem, while the seconds pertains to the description of the bad and the good. "Ujjvaladatta also quotes one half of a verse from the Haravilāsa, This Haravilāsa, a Mahāprabandha, must have been his 1 78576977317 ( Karpūramanjari I. I). 2 CT 7 PATTET Hafra (p. 19). 3 योऽन्यतमप्रवीणः स महाकविः (p. 19 ). 4 यस्तु तत्र तत्र भाषाविशेषेषु, तेषु तेषु प्रबन्धेषु, तस्मिस्तथि रसे स्वतन्त्रः स कविराजः (p. 19). 5 ते यदि जगत्यपि कतिपये (p. 19). 6 स्वनामाङ्कता यथा राजशेखरस्य हरविलासे 7 आशीर्यथा हरविलासे- ओमिलेकाक्षर प्रा श्रुतीनां मुखमक्षरम् । प्रसीदतु सता स्वान्तेष्वेकं त्रिपुरुषीमयम् ।। 8 सुजनदुर्जनस्वरूपं यथा हरविलासे- इतस्ततो भषम्भूरि न पतेत्पिशुनः शुनः । अवदाततया किन न मेदो हंसतः सतः॥ ७ दशाननक्षिप्तखुरप्रखण्डितः कचिह्नताओं हरदीधितियथा । इति हरबिलासे. ii-28, ·I. TRODUCTION. XXXIII mature production as a Kavirāja. Hero either in the first or the last canto, but most probably in the first, may be found appreciatory versos about poets (Višeshakaviprasaṁsā) quoted in Jahlapa's Sūktimuktāvuli. Generally the poet's family-history and praise of old poets are given in Ākhyāyikās and Kathās such as the Harshacharitra, the Tilakamaſjari and the Udayasundari; but references to old poets are also made in the Mahākāvyas. Mankhaka in his Srikanthacharitu refers to old and contemporary poets and Some śvara in the first canto of his Kirtikuumudi eulogizes old poets. This practice of eulogizing the old poets in the beginning of a poem is also found in Prākrita poems of the 12th century e.q. in the Sāntināthacharitra of Devachandra, Guru of the great m2 chandra. Some say that Rajasekhara wrote a work named Kavia rimars', wherein are to be found the appreciatory verses attributed to him in the Sūktimuktāvali; but it does not seem probable that Rajasekhara, should ever have written any such work when he had composed such a large work as the kūvyamīmińsā with 18 Adhibaranas. It was conjectured that the appreciatory verses may occur in the kūvyamīmāṁsā; but these verses do not occur in the first Arlhikaraņa, nor is there possibility of their being found in other Adhikaraņas, as the first Adhikaraņa aloue, judging from the contents of the whole work, seems to contain such matter. Besides the Haravilāsa, Rājasekhara composed a work, named Bhuvanakos'a, on the world's geography. At the end of the 17th chapter of the Kävyamimāṁsā he refers the reader to this work' for detailed information about the world's geography. Ujjvaladatta quotes a line from Rājasekhara about synonymise of S'iva. This may be found either in the Irravilaise or in some unown lexicon of Rājasekhara. It will thus appear that Rūjasekhara was an extensive writer and might have written more works than those hitherto known. The present work only the first part of the Kāvyamīmāṁsā. From the first chapter S'āstrasamgraha, we understand 1 इत्थं देशविभागो मुद्रामात्रेण सूत्रितः सुधियाम् । यस्तु जिगीषत्यधिकं पश्यतु मद्भुवनकोशममौ । 2 austetaat uit a ferait : 1 (ii-76 ) 5 P. 98.

·XXXIV INTRODUCTOIN. that the author planned a very large work; but unfortunately only the first Adhikaraṇa is hitherto available. From remarks like #awo failed grata (p. 10, 1. 5), Thauled a371: (p. 11, 1. 10), it is olear that he had in his mind the execution of the whole work planned out in the first chapter. Whether he succeeded in this and composed the whole work, we have no sufficient data to determine. Alavikāras'ekhara", Alarkuras'ekhara', however, has quoted 2 verses from Rājasekhara. The verses, if they really belong to our author, may have been taken from the 5771581 Adhikaraņa of the Kavyamīmāṁsā. The same work also quotes another verse which seems to be in the Hilfa Adhikarana. The style of the Kāvyamīmāṁsā. As the work is somewhat on the lines of a Sūtra-work, like Kautilya's Arthas'āstra and Vātsyāyana's Kāmasūtra, its style is also more or less aphorismlike ; and it is no wonder that it is terse and vigorous, charming and pleasing to the ears. The passages and phrases borrowed from the Arthas'āstra and the Kamasutra will be referred to in the notes. The Kāvyamīmāṁsā and later writers on rhetorics. It will be easily seen that Hemachandra has borrowed about one fourth of the present work in his Kävylīnus'āsanaviveka. Chapter 17th and 18th are verbally copied with slight changes in the order. Vägblața, son of Nemikumāra, las also borrowed the same portion in the 1st and 5th chapter of his Kāvyānus'iisann from Hemachandra with some changes, substituting his own verses in some places. Later writers of Kavis'ikshās, like Kshemendra, Amara, Vinayachandra and Deveśvara, seem to have been indebted to the l'avyamimaṁs for some of the topics treated in their 1 तदाह राजशेखरः- समानमधिकं न्यूनं सजातीयं विरोधि च । सकुल्यं सोदरं कल्पमित्याद्याः साम्यवाचकाः ।। अलङ्कारशिरोरत्नं सर्वस्वं काव्यसम्पदाम् । उपमा कविवंशस्य मातैवेति मतिर्मम ॥ अलङ्कारशेखरे-एकादशे मरीचौ. 2 उत्पाटितै भोभीतैः शैलैरामूलबन्धनात् । तांस्तानर्थान् समालोक्य समस्यां पूरयेत्कविः ।। अलङ्कारशेखरे--एकोनविंशे मरीचौ.

·INTRODUCTION, XXXV works. The author of the Sarasvati-kanthābhrana has quoted a few verses, which are found only in the Kävyamīmāṁsd, and the commentator, Ratneśvara, refers one verse to the Kävyamimāṁsā. By the bye, it may be mentioned that the name of the Kávyamīmāṁsākāra occurs in Sankara’s commentary (Rasachandrikā) on the S'akuntala. The origin and the promulgation of poetics. Like other S'ástrakārās our author attributes the origin of poetics to the Supreme Being and the celestials. S'rikaạtha taught this science to Parameshțhi, Vaikuntha and others of his sixty-four pupils. The self-born God imparted it to His will-born pupils. Among these was Kāvyapurusha, born of Sarasvati. Prajāpati set him to promulgate this science in the three worlds. He taught this to his divine pupils in 18 Adhikaraņas. Of these, Sahasrāksha and other 17 pupils composed separate treatises on the portions learnt by them. On account of these separate treatises, the science was to some extent lost. The whole, therefore, has been abridged by our author and set forth in one book in 18 Adhikaraņas. The position of poetics in literature. Our author claims a high position for poetical science both in sacred and in profane literature. Rhetorics, says Rājasekharu, is the seventh Auga, as without it the meanings of the Vedic texts cannot be grasped. In another place he puts literature by the side of the four profane sciences, saying that it is the fifth” lore, and makes it the fifteenth division of learning embodying all others. The Kāvyapurusha. The idea of the Kāvyapurusha and his bride Sāhityavidyāvadhū is quite novel in Sanskrita literature. It seems to have been suggested by the Vedapurusha in the Rigveda, and the Vedic text "acarf IFT: " bas been made to praise the Kāryapurusha. The Goddess of Learning was practising penance 1 "उपकारकत्वादलकारः सप्तममङ्गम्" इति यायावरीयः । ऋते च तत्स्वरूपपरिज्ञानादेदार्थानब- TA: 1 p. 3, 2 "qaaft etter facerto fat groterra: "Fonofarerencatata Tati pri forur स्थानम्" इति यायावरीयः। p. 4.

·XXXVI INTRODUCTION. on the Himālayas with the desire of having a son. Pleased with her penance, Brahmā gave her a son, afterwards called the Kāvyapurusha. It was from him that metrical speech first originated. Word and meaning make up his body, the different languages bis limbs. Sentiment is his soul, and figures of speech are his ornaments. Once upon a time, while Sarasvati was going to the celestial assembly as a judge, the Kāvyapurusha persisted in following her. In order to prevent him, Bhavānī created Sāhityavidyāvadhū as his bride and asked her to follow him. The bride had to adopt various sorts of dress and dramatic devices to win him. The Kāvyapurusha was gradually captivated by her, and at the end of the journey, he was wholly won over. The pair was then married in Vatsagulma by the Gándharva marriage. The different kinds of dress and the dramatic modes adopted by Sāhityavidyāvadhū in different countries are imitated by the people of those parts. The literary court of a king-poet.' The king-poet should have a special chamber for testing literary compositions. The chamber should have sixteen pillars, four doors and eight turrets. The pleasure-house should be attached to this chamber. In the middle of the chamber there should be an altar one hand high with four pillars and jewelled floor. Here the king should tako his scat. On its northern side should be seated Sanskrit poets and behind them Vaidikäs, logicians, Paurāņikās, Smārtās, physicians, astrologers and such others; on the eastern side the Prākṣita poets, and behind them actors, dancers, singers musicians, bards and such others; on the western side the vernacular poets and behind them painters, jewel-setters, jewellers, goldsmiths, carpenters, blacksmiths and such others; and on the southern side Paisacha 1 राजा कविः कविसमाज विदधीत । राजनि कवौ सर्वो लोकः कविः स्यात् । स काव्यपरीक्षाये सभा कारयेत् । सा पोडशभिः स्तम्भश्चतुर्भिारैरष्टभिर्मत्तवारणीभिरुपेता स्यात् । तदनुलग्नं राज्ञः केलिगृहम् । मध्येसभं चतुःस्तम्भान्तरा हस्तमात्रोत्सेधा समणिभूमिका वेदिका । तस्यां राजासनम् । तस्य चोत्तरतः संस्कृताः कवयो निविशेरन् । बहुभाषाकवित्वे यो यत्राधिकं प्रवीणः स तेन व्यपदिश्यते । यस्त्वनेकत्र प्रवीणः स सङ्गम्य तत्र तत्रोपविशेत् । ततः परं वेदविद्याविदः प्रामाणिकाः पौराणिकाः स्मार्ता भिषजो मौहूर्तिका अन्येऽपि तथा- विधाः। पूर्वेण प्राकृताः कवयः, ततः परं नटनर्तकगायनवादकवाग्जीवनकुशीलवतालावचरा अन्येऽपि तथा- विधाः । पश्चिमेनापभ्रंशिनः कवयः; ततः परं चित्रलेप्यकृतो माणिक्यबन्धका वैकटिकाः स्वर्णकारवर्षकिलोहकारा अन्येऽपि तथाविधाः । दक्षिणतो भूतभाषाकवयः; ततः परं भुजङ्गगणिकाः प्लवकशौमिकजम्भकमलाः शस्त्रोप- जीविनोऽन्येऽपि तथाविधाः । तत्र यथासुखमासीनः काव्यगोष्ठी प्रवर्तयेत् भावयेत् परीक्षेत च । P. p. 54-55, ·INTRODDOTION. XXXVII It was poets, and behind them paramours, courtezans, rope-dancers, jugglers, wrestlers and professional soldiers. 'Literary Examinations. After giving a very glowing picture of what an ideal poct should be and how he should daily conduct himself, Rājasekhara says that a king should hold asseniblies for the examination of the works of poets. He should patronize poets, become the Sabhāpati (President) like the ancient kings Vasudeva, Satavahana, Sudraka, and Sahasanka, honour and give donations to the poets, whose works stand the testa Assemblies of learned men (Brahmasabhās) should be held in big cities for examining poetical and scientific works; and the successful should be conveyed in a special chariot (Brahmaratha) and should be crowned with a fillet. Such assemblies for examining in poetry were held in Ujjainī. Kālidāsa, Mentha, Amara, Rūpa, Sūra, Bhāravi, Harichandra and Chandragupta were examined here. Páțaliputra was the centre for examinations in sciences. after passing from here that 'Upavarsha, Varsha, Panini, Pingala, Vyārļi, Vararuchi, and Patañjali got fame as S'āstrakāras. Literary traditions noted in the Kāvyamīmāṁsā. Rāja. sekhara has noted several traditions which are important in the history of Sanskrita literaturo. Medhāvirudra and Kumāradāsa were born blind. S'iśunāga, king of Magadha, had prohibited 1 वासुदेवसातवाहनशूद्रकसाहसावादीन् सकलान् मभापतीन् दानमानाभ्यामनुकुर्यात् । महा- नगरेषु च काव्यशास्त्रपरीक्षार्थ ब्रह्मममाः कारयेत् । तत्र परीक्षोत्तीर्णानां ब्रह्मरथयानं पट्टबन्धश्च । श्रूयते चोज्जयिन्यां काव्यकार परीक्षा-- "इह कालिदासमेण्ठावत्रामररूपसरभारवयः । हरिचन्द्रचन्द्रगुप्तौ परीक्षिताविह विशालायाम् ।। श्रूयते च पाटलिपुत्रे शास्त्रकारपरीक्षा- "अत्रोपवर्षवर्षाविह पाणिनिपिङ्गलाविह व्याटिः । वररुचिपतञ्जली इह परीक्षिताः ख्यातिमुपजग्मुः ॥" p. 55. 2 It may be noted that thoss names are in strict chronological ordor, This shows also that Pāṇini flourishod in a period after the transference of tho capital of Magadha from Rajagraha to Pataliputra.-B. B. 3 मेधाविरुद्रकुमारदासादयो जात्यन्धाः कवयः श्रूयन्ते । p. 12. * श्रूयते हि मगधेषु शिशुनागो नाम राजा; तेन दुरुच्चारानष्टौ वर्णानपास्य स्वान्तःपुर एव प्रवत्तितो नियमः; टकारादयश्चत्वारो मूर्धन्यास्तृतीयवर्जमूष्माणस्त्रयः क्षकारश्चति । श्रूयते च सूरसेनेषु कुविन्दो नाम राजा, तेन परुषसंयोगाक्षरवर्जमन्तःपुर एवेति समानं पूर्वेण । श्रूयते च कुन्तलेषु सातवाहनो नाम राजा; तेन प्राकृतभाषात्मकमन्तःपुर एवेति समानं पूर्वेण । भूयते चोजयिम्यां साहमाको नाम राजा; तेन च संस्कृतभाषात्मकमन्तःपुर एवेति समानं पूर्वेण । P. 50.

·XXXVIII INTRODUCTION. 1 the use of cerebrals except ? and s', sh, h, and ksh, in his harem, and Kuvinda, king of S'ūrasena, the use of harsh conjunct congonants. Sātavāhana, king of Kuntala, had ordered the exclusive use of Prākṣita in his harem, while Sāhasānka, king of Ujjayini, that of Sanskṣita. 'Writing-materials. Rājasekhara says that a poet must have always near him a box, a board with chalk, leaves of the Tādi tree or barks of the Bhūrja tree with pens and inkpots, leaves of the Tāla tree with iron nails and well-rubbed plates. It will be seen from this that the palmyra leaves used by the southerners are the leaves of the Täla tree (Tāladalani), while those found in the Jain Bhandārs are the leaves of the Tādi (Tādipatrāņi). Quotations in the Kāvyamīmāṁsā. The illustrations given in the Kávyamimiinscē are literary gens and seem to have been selected from many sources. He lias quoted from the Rūnuiyana, Mahābhārata, Gita, Raghuvams'u, Kumūrasambhava, Vikrramorvas'iya, Slīkuntala, Kirútūrjiniya, Junakihurance; Kūdambari, Hayagrivavadha, Mālatimidhava, Sūryas'utala, Venisamhūrut, Sisupalaradha,Mſahüritaka, Mahinnal-stotra and his own dramas. Yet the major part of these verses remains untraced. Quotations from the S'is'upülavadhıı and Venisariharro show that these poets flourished before the 9th century. Rhetoricians quoted in the Kāvyamīmāmsā. Rājaśckhara has quoted the opinions of Surananda, S'yāmadeva, Vāmana, Udbhața, Āparājiti, Drauhiņi, Rudrața, Kalidasa, Vāk'patirāja, Avantisundari and Ananda. Vamana, Udbhața, Ananda and Rudrata are well-known as poeticians. As regards the others, though the names of some of them are familiar, we know nothing about their works on poetics. As the opinion of Rudraţa is refuted in the Kāvyamimciństī, he must be placed earlier than 900 A. D. Repetitions in the Kāvyamimāṁsā. Rājasekhara frequently reprats whole stanzas in his dramas. In the Kavya- 1 This is a strong argument in favour of taking this king as a Vrätya who displayed his hatred towards the harsh sounds current in the orthodox Brahmanical speech.-B. B. 3 तस्य सम्पुटिका सफलकखटिका, समुद्कः, सलेखनीकमषीभाजनानि ताढिपत्राणि भूर्जत्वचो वा; सलोहकण्टकानि तालदलानि सुसम्मृष्टा भिसयः सततसन्निहिताः स्युः p. 61 ·INTRODUCTION. XXXIX mimamsā too the same fact can be easily noted. The verses स्तेमः स्तोकोऽपि (pp. 25 and 83), मानार्दैः (pp. 67 and 76), and संविधातुमभिषेक- मुदासे (pp. 73 and 74) एतास्ताः (pp. 45 and 82), एतां विलोकय (pp. 19 and 45) are quoted twice while the versc JurgiTAVU is quoted thrice (pp. 26, 41 and 83). Rājas'ekhara's partiality for Kanauj and Pānchālās. We have seen that Rājasekhara was the Upadhyāya of the kings of Kanauj. His partiality for Mahodaya and Pānchāla can be easily marked in the present work. In the 17th chapter he says that directions sliould be measured from Mahodaya; and in the 3rd he describes the dress of the ladies of Mahodaya as adorable. In the Balaramaiyana too, le describes Kanauj as a %very sacred place, and the way of dressing, ornamentation, braiding and speech of its ladies as being studied by the females of other countries. In the same way, the Panchālas have been described as the ornament of Antaivedi. "Its people like elegant and new compo- 1“नत्रापि महोदयं मूलमवधीकृत्य" -ति यायावर्गयः । Kavyanimamsa, p. 94. 2 ताडवल्गनतरङ्गितगण्डलेखमानाभिलम्बिदरदोलिततारहारम् । आश्रोणिगुल्फपरिमण्ट लितोत्तगयं वे नमस्यत महोदयसुन्दरीणाम् ।। Kavyamimainsi, p. 8. 3 इदं पुनस्ततोऽपि मन्दाकिनीपरिक्षिप्तं महोदयं नाम नगरं दृश्यते। शश्वत् सुधामवसुधामहितं द्विद्भिर्नो गाहितं भवति गाधिपुरं पुरस्तात् । वैदेहि देहि शफर्गसदृशं दृशं तदस्मिन्नितम्बिनि नितम्बवहासिन्धौ ।। इदं वयं मर्वमहापवित्रं परस्परालङ्करणैकहेतुः । पुरं च हे जानकि कान्यकुब्ज सरिच्च गौरीपतिमौलिमाला ॥ अपिन यो मार्गः परिधानकर्मणि गिगं या मक्तिमुद्राको भगिर्या कबर्गचयेपु रचनं यषणालीषु ।। दृष्टं सुन्दरि कान्यकुब्जललनालोकैरिहान्यञ्च य- च्छिक्षन्ते सकलामु दिक्षु नरमा तत्कौतुकिन्यः स्त्रियः ।। Bularimayana, Act. x. 88, 89 & 90. 4 दमे अन्तर्वेदीभूषणं पश्चाला: यत्रार्थे न तथानुरज्यति कविामीणगीर्गुम्फने शास्त्रीयासु च लौकिकेषु च यथा भव्यासु नव्योक्तिपु । पञ्चालास्तव पश्चिमेन त इमे वामा गिरां भाजनाः त्वदृष्टेरतिथीभवन्तु यमुनां त्रिस्रोतमं चान्तरा ।। Balaramayana, Act. X. 86.

·XL.- INTRODUCTION, sitions, and the works of its poets are well constructed and the mode of their recitation is, as it were, pouring honey in ears. Rajas'ekhara and the Lātades'a. Rājasekhara seems to have como much in contact with the Lātadeśa, probably through his royal patron. He has made Karpūramañjarī, the Heroine of his play Karpüramañjari, the daughter of the king of the Lātadeśa. The Viddhasūlabhañikā also belongs to the king of the same country. In the Bālarāmāyana, it-is described as the crest” of the earth. The elegance of speech and beauty of its Ladies are much dilated upon by him in the 'Kāryamimaisā and the 'Brīlarvīműyana. Ancient Indian Geography according to the Kāvyamimāṁsā. Rājasekhara seems to have been very fond of and much acquainted with the geography of India. In the tentlı act of his Bälarāmāyaṇa, he doscribes the countries lying on the way from Ceylon to Ayodhyā. Comprehensive knowledge of the various countries of India is obtained from the 17th chapter of the Kāvyanimāṁsi. Hemachandra and Vágbhata have borrowed this whole-sale in their works. The information given in this chapter, however, is in brief, as he refers one who wants further information on the subject, to his Bhuvana-Kos'a. Rajasekhara divides आर्यावर्त into five parts 1 पूर्वदेशः, 2 दक्षिणापथः, 3 पश्चाद्देशः, 4 उत्तरापथः and 5 मध्यदेशः. 1 अयमसावितो विश्वम्भराशिरःशेखर इव लाटदेशः। Aot x. 2 पठन्ति लटभं लाटाः प्राकृतं संस्कृतद्विषः । जिहया ललितोलापलब्धसौन्दर्यमुद्रया ॥ Kāvyamimānsă, p. 34. 3 ययोनिः किल संस्कृतस्य सुदृशां जिहासु यन्मोदते यत्र श्रोत्रपथावतारिणि कटुर्भाषाक्षराणां रसः। गचं चूर्णपदं पदं रतिपतेस्तत्प्राकृतं यदचस्तांलाटांललितानि पश्य नुदती दृष्टेनिमेषत्रतम् ।। लक्षीकर्तु प्रवृत्तोऽपि लाटीलडहवीक्षितः । tarafa farina rara full Balarāmāyaṇa, Act x, 48-49, ·INTRODUCTIOX. *** is the part lying east of Benāres. It contains:- Countries. Mountains, Rivers. Produots. 9 नेपाल 10 पुण्डू 1 अन 2 कलिज 3 कोसल 4 तोसल 5 उत्कल 6 मगध 11 प्राग्ज्योतिष 12 ताम्रलिप्तक 1 बृहहह 2 लोहितगिरि 3 चकोर 4 दर्दुर 5 नेपाल 6 कामरूप etc. 1 शोण 2 लौहित्य 3 गङ्गा 4 करतोया 5 कपिशा etc. 1 लवली 2 प्रन्धिपर्णक 3 अगरु 4 द्राक्षा 5 कस्तूरिका 13 मलद 14 मल्लवर्तक 15 सुम 8 विदेह 16 ब्रह्मोत्तर etc. The portion lying beyond hilft is a 100774. It consists of: Countries. Mountains. Rivers. Products. 14 चोड 1 विन्ध्यदक्षिणपाद 2 महेन्द्र 3 मलय Same as those of the Malayas. 4 मेकल 1 महाराष्ट्र 2 माहिषक 15 दण्डक 3 अश्मक 16 पाण्ड्य 4 विदर्भ 17 पल्लव 5 कुन्तल 18 गाम 6 ऋथकैशिक 19 नाशिक्य 7 सूर्पारक 20 कोकण 8 काची 21 कोल्लगिरि 9 केरल 22 वार 10 कावेर etc. 1 नर्मदा 2 तापी 3 पयोष्णी 4 गोदावरी 5 कावेरी G भैमरथी 7 वेणा 5 पाल 6 मञ्जर 7 सह्य 8 श्रीपर्वत etc. 8 कृष्णवेणा 11 मुरल 9 वञ्जरा 10 तुगभद्रा 11 ताम्रपर्णी 12 उत्पलावती 13 रावणगड़ा etc. 12 वानवासक 13 सिंहल 6 ·XLII INTRODUCTION, The portion lying beyond aata is 9241ezt. It contains Countries. Mountains. Rivers. Products. 1 देवसभ 2 सुराष्ट्र 3 दशेरक 4 त्रवण 5 मृगुकच्छ 6 कच्छीय 7 आनत 8 अर्बुद 9 ब्राह्मणवाह 10 यवन etc. 1 गोवर्धन 2 गिरिनगर 3 देवसभ 4 माल्यशिखर 5 अर्बुद etc. 1 सरस्वती 2 श्वभ्रवती 3 वार्तनी 4 मही 5 हिडिंबा etc. 1 करीर 2 पीलु 3 गुग्गुलु 4 खजूर 5 करभ etc. The portion lying beyond पृथदक is उत्तरापथ. It comprises:-- Countries. Mountains. Rivers. Products. 12 तहण 13 तुषार 14 तुहष्क 1 हिमालय 2 कलिन्द 3 इन्द्रकील 4 चन्द्राचल etc. 1 गदा 2 मिन्यु 3 सरस्वती 1 शतद्रु 5 चन्द्रभागा 1 शक 2 केकय 3 वोकाण 4 हण 5 वाणायुज 6 काम्बोज 7 वाहीक 8 वहष 9 लिम्पाक 10 कुलूत 11 कीर 1 सरल 2 देवदारु 3 द्राक्षा [ कुङ्कुम 5 चमर 6 अजिन 15 बर्बर 16 हरहर 17 हहुक 18 सहुड G यमुना 7 इरावती 8 वितस्ता 9 विपाशा 7 सीवीर 8 स्रोतोञ्जन 9 सैन्धव 10 वैदूर्य 19 हंसमार्ग 20 रमठ 21 करकण्ठ etc. . 10 कुहू 11 तुरस 11 देविका etc. etc. Between these lies the मध्यदेश. Dialects of different parts of India. From the Kavynmimåṁsā we gain some knowledge as to what particular dialects were spoken in different parts of India. "Gaudas and other people spoke Sanskrit, Lātās were fond of Prākrit, those living in Mārwār, 1 गौडाधाः संस्कृतस्थाः परिचितरुचयःप्राकृते लाटदेश्याः सापभ्रंशप्रयोगाः सकलमरुभुवष्टकभादानकाश्च । आवन्त्याः पारियात्राः सह दशपुरजैर्भूतभाषां भजन्ते यो मध्येमध्यदेशं भिवमति स कविः सर्वभाषानिषण्णः ॥ p. 51.

·INTRODUCTION. XLIII Pakka and Bhādānaka yore fond of Apabhramśa, those living in Avantī, Pāriyātra and Daśapura used Bhūtabhāsbā, while those living in the Madhyadeśa were well-versed in all languages. Rājas'ekhara's love for Prākrita languages. It is said in the prologue of the Bilarūnāyaṇa that Rājasekhara was wellversed in all languages." His definition of a Kavirāja also requires that he should be proficient in various languages. To him all the languages should be equal. IIis Karpūramañjari would seem to be an illustration of this. In another place, he says that a good poet should pay attention to all the languages according to his ability, taste and curiosity. One and the same idea assumes, different forms of beauty according to the language in which it is expressed. A poet, whose intellcot is thus ready in all the languages acquires fame all throughout the world. In the Būlariimiiyana, he describes 'Prākrita as clegant and possossing natural sweetness, Apabbraisa as very clegant, and Bhūtabhāslıā as well-formed. In tho Karpūramaſjari, it is said that Sanskrit compositions are harsh, while those in Prākrit are smooth. The modes of speech and recitation of ancient Indians, Much interesting information about the niodes of speech and rccital of peoples of different countries of ancient India can be derived from the 7th chapter of the Kivyamīnursii. "Māgadhās and some others living east of Benares speak Sanskrit well, but are 2 1 सर्वभाषाविचक्षणश्च म एवमाह । म्वतश्रम्य पुनरेकवत् मा अपि भाषाः स्युः । काव्यमीमांमा 51. 3 संस्कृतवत् माम्वपि भाषासु यथासामर्थ्य यथारुचि यथाकौतुकं चावहितः स्यात् । Ibid. p. 48. 4 एकोऽर्थः संस्कृतोक्त्या मसुकविरचनः प्राकृतेनापरोऽस्मिन् अन्योऽपभ्रंशगीभिः किमपरमपरो भूतभाषाक्रमेण । द्वित्राभिः कोऽपि वाग्भिवति चतसृभिः किन्च कश्चि द्विवेक्] यस्यत्थं धीः प्रपन्ना नपयति सुकवेस्तस्य कीर्निर्जगन्ति ।। Ibid. pp. 48 and 49. 5 गिरः श्रन्या दिव्याः प्रकृतिमधुराःप्राकृतधुरः मुभव्योऽपभ्रंशः सरसरचनं भूतवचनम् । विभिन्नाः पन्थानः किमपि कमनीयाश्च न इमे निबद्धा यस्त्वेषां स खलु निविलेऽस्मिन् कविवृषा ।। Balarāmāyana, Act, I. 10. परुसा सकअबन्धा पाउअबन्धो वि होइ सुउमारो। पुरिसमहिलाणं जेत्तिअमिहन्तरं तेत्तिअमिमाणं ।। Karpūramaſ jari. Act. I, 4. 7 "पठन्ति संस्कृतं मुटु कुण्ठाः प्रोकृतवाचि ते। वाराणसीतः पूर्वेण ये केचिन्मगधादयः।" p. 33. 6 ·XLIV INTRODVOTION. blant in Prākrit. A Gauda cannot speak Prakrit well. Either he should give up the attempt or the Prākrit language should be otherwise. A Gauda Brābman is neither a very clear nor a confused, neither a harsh nor a very soft, neither a deep nor a very loud speaker. 'Whatever may be the sentiment, style or quality, all the Karṇātas recite proudly making a twangling sound at the end. Drāvidas, without any exception, recite either prose, poetry or mixture of both in a musical way. *The Lāțas, who have hatred for Sanskrit, speak beautiful Prākrit with their warbling tongue. The people of Surāshtra and Travaņa, etc., speak Sanskrita, stimulating it with an admixture of Apabhramsa, so as to impart beauty to their speech. The Kashmirians are good poets through the favour of Sarasvati; yet their mode of reciting sounds to the car like a mouthful of Gudũchi (cocculus cordifolius). 'The poets of the Uttarapatha, though refined, recite with a nasal sound. *Rich in properties, with the voice corresponding to the style and the perfection of arrangement of words, and divided into cæsuras, the sweet recitation of the Pānchāla poets is, as it were, a flow of honey in ears. Female education in Rajasekhara's time. Rajasekhara's views in this connection were very forward and liberal. He says . 1 आह स्म-"महान्विज्ञापयामि त्वां स्वाधिकारजिहासया । गौडरत्यजतु वा गाथामन्या वाऽस्तु सरस्वती ।। नातिस्पष्टो न चाश्लिष्टो न रूक्षो नातिकोमलः । न मन्द्रो नातितारश्च पाठी गौडेषु वाडवः ॥ 2 रसः कोऽप्यस्तु काप्यस्तु रीतिः कोप्यस्तु वा गुणः । सगर्व सर्वकर्णाटाष्टंकारोत्तरपाठिनः ।। 3 गधे पोऽथवा मिश्रे काव्ये काव्यमना अपि । गेयगर्भे स्थितः पाठे सर्वोऽपि द्रविडः कविः॥ 4 पठन्ति लटभं लाटा: प्राकृतं संस्कृतद्विषः। जिया ललितोलापलब्धसौन्दर्यमुद्रया ।। 5 सुराष्त्रवणाया ये पठन्त्यर्पितसौष्ठवम् । अपभ्रंशावदंशानि ते संस्कृतवचांस्यपि ।। 6 शारदायाः प्रसादेन काश्मीरः सुकविर्जनः । कर्णे गुडूचीगण्डूषस्तषां पाठक्रमः किमु !॥ 7 ततः पुरस्तात्कवयः ये भवन्युत्तरापथे । ते महत्यपि संस्कारे सानुनासिकपाठिनः।। 8 मार्गानुगेन निनदेन निधिर्गुणानां सम्पूर्णवर्णरचनो यतिमिविभक्तः । पाञ्चालमण्डलभुवां मुभगः कबीनां प्रोत्रे मधु क्षरति किन्नन काम्यपाठः ॥ PP.33 434.

·INTRODUCTION, XLV that 'women too may become poetesses like men. Accomplishment is intimately connected with the soul, but does not depend upon the distinction of the sex. In his time daughters of princes and prime ministers, courtezans and wives of jesters wero found well-versed in sciences, and poetesses too. Foreign travel and the dress question. It appears from the Kūvyamimīíscê that 'ancient poets used to travel to foreign countries and islands, and utilized their experience in those countries in their works. As regards the dress to be worn, it is said that divine and other beings should be represented as putting on the dress of the country where they live for the time being. In one's own country, however, one may adopt any dress one likes. The Colour question of Indians. From tho *Kavisamaya, we get some idea of the colours of Indians. The colour of the easterners has been described as brown, that of southerners as dark, that of westerners as white, that of northerners as fair, while that of persons living in the Madhyadesa as dark, brown and white. 1 1 पुरुपवत् योपितोऽपि कवीभवेयुः । संस्कारो ह्यात्मनि समवेति । न स्वैगं पौरुषं वा विभागमपेक्षते । भूयन्ते दृश्यन्ते च राजपुत्र्यो महामात्रदुहितरो गणिकाः कौतुकिभायाश्च शास्त्रप्रहतबुद्धयः Tell P, 53. १ किञ्चन महाकवयोऽपि देशदीपान्तरकथापुरुषादिदर्शनेन तत्रयां व्यवहृनि निबध्नन्ति स्म । p. 12. पूर्वे हि विद्वांसः सहस्रशाखं माङ्गं च वेदमवगाह्य शास्त्राणि चावबुध्य देशान्तराणि द्वीपान्तराणि च परिभ्रम्य p. 78. ततः परं दिव्याचा अपि य देशमधिवसे युस्तद्देश्यं वेषमाश्रयन्तो निबन्धनीयाः। वभूमौ तु qitet: I p. 10. 4 तत्र पौरस्त्यानां श्यामो वर्णः, दाक्षिणात्यानां कृष्णः, पाश्चात्यानां पाण्डुः, उदीच्यानां गौरः, मध्यदेश्यानां कृष्णः, श्यामो गौरश्च । p. 96. 3 ·ABBREVIATIONS. A-the palm-leaf MS. of FF LAHIT deposited in the Fofalia Wada Bhandār at Pattan. B-the paper MS. comprising Eropritarar and a face para deposited in the Wādi Pārsvanātha Bhandar at Pattan. C—the palın-leaf MS. in the Bhandar at Jaisalınere dated Samy. 1216 from which B was copied. K-54rgara of 4973 printed in the 'Kūvyamālā' Series. V-काव्यानुशासनविवेक of हेमचन्द्र printed in the same Series. VA-the first MS. of काव्यानुशासनविवेक. VB-the second MS. of the same work dated Suiv, 1668. VC-the third MS. of the same work dated as above. (Of the three MSS. of faqe two are in the Central Library and the third cannot be traced ).

·SUMMARY. प्रथमोऽध्यायः श्रीकण्ठस्य परमेष्ठिवैकुण्ठादिभ्यश्चतुःषष्टये शिष्येभ्यः काव्यशास्त्रोपदेशः । सार- स्वतकाव्यपुरुषात्काव्यविद्याप्रवृत्तिः । सहस्राक्षादिभ्यो दिव्येभ्यः काव्यविद्यानात- केभ्यः काव्यविद्याया अष्टादशाधिकरणीप्रवचनम् । तेषां पृथक्पृथक् स्वशास्त्रविरचनम्। प्रकीर्णत्वात्तेपां किश्चिदुच्छेदेन अन्धका सङ्केपेणास्य ग्रन्थस्य प्रणयनम् , एतद्रन्था- ध्यायनिर्देशश्च । p.2 द्वितीयोऽध्यायः शास्त्रं काव्यं चेति वाङ्मयं द्विधा । शास्त्राणां परिमायानं, लक्षणं, सूत्रादि- भिश्चैपां प्रणयनम् । वृत्तिपद्धतिभाष्यसमीक्षाटीकापञ्जिकाकारिकावार्तिकानीति शास्त्रभेदाः, तेपां व्याख्याश्च । साहित्यविद्याया व्याख्या । p.5 तृतीयोऽध्यायः सरस्वत्याः पुत्रेच्छा । स्वयम्भूवरदानम् । सरस्वत्याः कास्य पुरुषोत्पत्तिः । तस्य छन्दवद्वागुच्चारणम् । काव्यपुरुषस्य स्तुतिवर्णनं च । सारस्वतेयस्य उशनसे वाल्मी- कये च छन्दस्वद्वाक्सञ्चारणम् । काव्यपुरुषस्य सरस्वत्या ब्रह्मलोकेऽनुगमनम् । तन्निवर्तनाय तद्वशीकरणाथ साहित्यविद्यावधूत्पादनं, तस्यै काव्यपुरुषानुवर्तनाय, का- व्यविद्यानातकेभ्यश्चैतयोः चरितस्तवनायादेशः। प्रथमं प्राची प्रति चलनम् । तत्र काव्यपुरुषमभियुञ्जाना सा औमेयी यं वेपं यथेष्टमसेविष्ट स तत्रत्याभिः स्त्रीभिरनुकृतः । सा औडमागधीप्रवृत्तिः । गोडाङ्गनावेपवर्णनम् । तयोरनुसारेण भारतीवृत्तिगौडीरीत्योः प्रादुर्भावः । ततः पाञ्चालान प्रति चलनम् । पाञ्चालम- ध्यमाप्रवृत्तिसात्वतीवृत्तिपाञ्चालीरीतीनां प्रादुर्भावः । ततोऽवन्तीं प्रति चलनम् । तन्नेपथ्यानुसारेण आवन्तीप्रवृत्तिसात्वतीकैशिकीवृत्तीनां प्रादुर्भावः । ततो दक्षिणां प्रति चलनम् । तत्र दाक्षिणात्याप्रवृत्तिकैशिकीवृत्तिवैदर्भीरीतीनां प्रादुर्भावः । सम्पू- र्णतया च काव्यपुरुषस्य वशीकरणम् । विदर्भेषु वत्सगुल्मे तयोर्गान्धर्ववत्परि- अयनेम् । ततो विनिवृत्य तेषु प्रदेशेषु विहृत्य तुपारगिर्यागमनम् । गौरीसरस्वतीभ्यां बन्दनम् । तयोराशीर्वादेन कविमानसनिवासकरणं कविलोकस्वर्गसर्गश्च । p. 10 ·XLVIII SUMMARY. चतुर्थोऽध्यायः शिष्यो द्विविधः बुद्धिमानाहार्यबुद्धिश्च । ताभ्यामन्यथाबुद्धिर्दुर्बुद्धिः। समा- ध्यभ्यासयोर्व्याख्ये । तयोः शक्त्युद्भासनम् । शक्तिकर्तृके प्रतिभाव्युत्पत्तिकर्मणी । प्रतिभाव्याख्या । तस्याः कारयित्रीभावयित्रीभेदेन द्वैविध्यम् । सहजाहार्योपदे- शिकीति त्रिविधा कारयित्री । तासां व्याख्याः । तदनुसारेण सारस्वतः, आभ्या- सिकः, औपदेशिक इति त्रिविधाः कवयः । तेपां लक्षणानि । भावयित्रीव्याख्या । भावकत्वकवित्वयोः पृथक्त्वम् । अरोचकिनः, सतृणाभ्यवहारिणः, मत्सरिणः, तत्वाभिनिवेशिनश्चेति चत्वारः भावकाः । तेषां लक्षणानि । तत्त्वाभिनिवेशिनः विर- लत्वम् । भावकविषये सङ्ग्रहश्लोकाः । p. 15 पश्चमोऽध्यायः . व्युत्पत्तिप्रतिभयोाख्ये । तयोः कतरा श्रेयसीति विचारः । उभययोगः श्रेयानिति यायावरीयमतम् । शास्त्रकविः, काव्यकविः, उभयकविश्चेति कवयस्त्रिधा। तेषां स्वस्वविषये गरीयस्त्वमिति यायावरीयमतम् । त्रिधा शास्त्रकविः, यः शास्त्रं विधत्ते, यश्व शास्त्रे काव्यं विधत्ते, योऽपि काव्ये शास्त्रार्थं निधत्ते । काव्यकविः पुनरष्टधा रचनाकविः, शब्दकविः, अर्थकविः, अलङ्कारकविः, उक्तिकविः, रस- कविः, मार्गकविः, शास्त्रार्थकविरिति । रचनाकवेरुदाहरणम् । त्रिधा शब्दकवि - माख्यातार्थभेदेन। तेपामुदाहरणानि । अर्थकवेरुदाहरणम् । द्विधाऽलङ्कारकविः शब्दार्थभेदेन । तयोरुदाहरणे । उक्तिकविरसकविमार्गकविशाखार्थकवीनामुदा- हरणानि । दश च कवेरवस्थाः । बुद्धिमदाहार्यबुद्ध्योः सप्त, तिस्रश्चौपदेशिकस्य । सद्यथा काव्यविद्यानातको, हृदयकविः, अन्यापदेशी, सेविता, घटमानो, महाकविः, कविराजः, आवेशिकः, अविच्छेदी, सट्टामयिता च । तेषां लक्षणानि । पाकविवेकः । पिचुमन्दपार्क, बदरपाकं, मृद्वीकापाकं, वार्ताकपाकं, तिन्तिडीकपाक, सहकारपाक, क्रमुकपाकं, पुसपार्क, नालिकेरपाकमिति नवधा काव्यम् । तेषां त्रिकत्रये आद्यानां हेयता इतरेषाञ्चोपादेयता । अनवस्थितपाकस्य कपित्थपाकता । p. 21 षष्ठोऽध्यायः पदस्य व्याख्या । तस्य सुवृत्तिः, समासवृत्तिः, तद्धितवृत्तिः, कुदृत्तिः, तिर वृत्तिश्चेति पञ्च वृत्तयः। पदजातस्यानन्त्यम् । वाक्यस्य व्याख्या। तस्य त्रिधाऽमिधा- .

·SDUMARY. XLIX ख्यातम्, व्यापारः वैभक्तः, शाक्तः, शक्तिविभक्तिमयश्चेति । तेषां व्याख्या उदाहरणानि च। एकाठ्यातम् , अनेकाख्यातम् (सान्तरं निरन्तरञ्च), आवृत्ताख्यातम् , एकाभिधेया- परिणताख्यातम् , अनुवृत्ताख्यातम् , समुञ्चिताख्यातम् , अध्याहृताख्यातम् , कृदभिहिताख्यातम् , अनपेक्षिताख्यातमिति वाक्यं दशधा । गुणवदलकृतश्च वाक्य- मेव काव्यम् । असत्यार्थाभिधायित्वानोपदेष्टव्यं काव्यमिति मतनिरासः । असदुप- देशकत्वानोपदेष्टव्यमिति मतनिरासः। असभ्यार्थाभिधायित्वानोपदेष्टव्यं काव्य- मिति मतस्य श्रुतौ च शास्त्रे चैतदर्थस्योपलव्धेर्निरासः । p.28 सप्तमोऽध्यायः ब्राह्म, शैवं, वैष्णवमिति प्रणेतृभेदेन पुराणादिमतेन वाक्यं त्रिधा । स्वायम्भुवं, ऐश्वरं, आर्षम् , आर्षिकम् , आर्षिपुत्रकं चेति ब्राह्मं वचः पञ्चधा तेषां व्याख्याः । सारस्वतकवीनां मते तु ब्रह्मविष्ण्वादिशिष्येषु चतुःषष्टावुपदिष्टं वचः पारमेश्वरम् । क्रमेण चैतस्य देवैर्देवयोनिभिश्च यथामत्युपजीव्यमानत्वाद्दिव्यत्वेन व्यपदेशः । तच्च वैबुधं, वैद्याधरं, गान्धर्व, योगिनीगतं चेति चतुर्धा । तेषां सव्याख्योदाहरणानि । वैष्ण- वस्य मानुषत्वेन व्यपदेशः। तच वैदर्भी, गौडीया पाञ्चाली चेति रीतित्रयभेदेन त्रिधा। काकुर्वक्रोक्तिर्नाम शब्दालङ्कारोऽयमिति रुद्रटमतस्य निरासः । काकोः पाठधर्मत्वम् । साकाङ्क्षा निराकासा, चेति तस्या द्वैविध्यम् । आक्षेपगर्भा, प्रश्नगर्भा, वितर्कगी, चेति त्रिधा साकाङ्क्षा । निराकाङ्क्षाऽपि विधिरूपा, उत्तररूपा, निर्णयरूपेति त्रिविधा। तासामुदाहरणानि । अभ्युपगमानुनयकाकूदाहरणम् । अभ्यनुज्ञोपहासकाकूदा- हरणम् । त्रिचतुरकाकुयोगोदाहरणे । काकुकलनायां सामान्यपाठप्रतिष्ठायां च सङ्ग्रहश्लोकाः । मगधगौडकर्णाटद्रविडलाटसुराष्ट्रकाश्मीरोत्तरापथपाञ्चालोद्भवानां कवीनां पाठप्रतिष्ठायां परिकरश्लोकाः । .. p.34 अष्टमोऽध्यायः श्रुतिः, स्मृतिः, इतिहासः, पुराणं, प्रमाणविद्या, समयविद्या, राजसिद्धान्तत्रयी, लोको, विरचना, प्रकीर्णकं, उचितसंयोगः, योक्तृसंयोगा, उत्पाद्यसंयोगः, संयो- गविकारः इत्येताः काव्यार्थानां षोडश योनयः। श्रौत-स्मार्त-ऐतिहासिक-पौराणिक.. मैमासिक-सांख्यीय-न्यायवैशेषिकीय-बौद्धीय-लौकायतिक-आहेत-शैवसिद्धान्तीय-पा- -बौद्धसिद्धान्तीय-नाट्यशास्त्रीय-कामसूत्रीय-लौकिक-विरचनाविषयक-हस्तिशि- वरात्र- 7 ·L SUMMARY क्षीय-रत्नपरीक्षीय-धनुर्वेदीय-योगशास्त्रीयाणामुचितसंयोगयोक्तृसंयोगोत्पाद्यसंयोगसं- योगविकाराणां काव्यार्थानामुदाहरणानि । p. 41 नवमोऽध्यायः दिव्यः, दिव्यमानुषः, मानुषः, पातालीयः, utया, दिव्यताका दिव्यमर्त्यपातालीयश्चेति सप्तधा अर्थः, । दिव्यमानुषश्चतुर्धा दिव्यस्य मां- गमनेन मर्त्यस्य स्वर्गगमनेन, दिव्यस्य मर्त्यभावेन मर्त्यस्य दिव्यभावेन, दिव्येतिवृत्त- परिकल्पनया, प्रभावाविर्भूतदिव्यरूपतया च । तेपामुदाहरणानि । मर्त्य-पातालीय- मर्त्यपातालीय-दिव्यपातालीय-स्वय॑मर्त्यपातालीयानामुदाहरणानि । निःसीमार्थसार्थे रसवत एव निबन्धो युक्तः । सरिद्वर्णनरसवत्ता, अद्रिवर्णनरसवत्ता, सागरवर्णनरस- वत्ता, विप्रलम्भेऽप्यरसवत्ता। तासामुदाहरणानि । वस्तुस्वरूपविचारः । मुक्त- कप्रबन्धविषयत्वेनार्थस्य द्वैविध्यम् । तावपि प्रत्यैकं पञ्चधा शुद्धः, चित्रः कथोत्थः, संविधानकभूः, आख्यानकवांश्चेति । तेपामुदाहरणानि । संस्कृतवत्सर्वास्वपि भाषासु अवधानावश्यकता । p. 49 परिचारकस्य, दशमोऽध्यायः नामधातुपारायणादिकाव्यविद्यानां काव्यमातॄणां च परिगणनम् । शुचि शीलनं कवेरावश्यकम् । तस्य भवनस्य, मित्राणां, लेखकस्य च वर्णनं, तस्य गृहे भाषानियमश्च । शिशुनागकुविन्दसातवाहनसाहसाङ्कानां प्राक्तननृपाणां स्वभवने वर्णभाषानियमः । कवेर्लेखनसाधनानि, काव्यप्रबन्धे भाषानियमश्च । कवेराहोरात्रि- कम् । असूर्यम्पश्यनिषण्णदत्तावसरप्रायोजनिकानां चतुर्विधानां कवीनां लक्षणानि । पुरुषवत् योषितामपि कवीभवनम् । सिद्धस्य प्रबन्धस्यानेकादर्शकरणम् । प्रबन्ध- विनाशकारणानि । राज्ञः कविसमाजवर्णनम् । काव्यशास्त्रपरीक्षार्थं महानगरेषु ब्रह्मसभाकरणम्। p. 55 एकादशोऽध्यायः पञ्चविधं शब्दहरणं पदतः, पादतः, अर्द्धतः, धृत्ततः, प्रबन्धतश्च । श्लिष्टस्य श्लिष्टपदेन हरणम्, लिष्टपदैकदेशेन हरणम्, । श्लिष्टस्य यमकेन हरणम्, श्लिष्टस्य प्रश्नोत्तरेण हरणम् , यमकस्य यमकेन हरणम् । मसिनाकारणैः शब्दार्थहरणेऽ- भिरमेत इत्यवन्तिसुन्दर्या मतम् । व्यधिकपदहरणं हरणं न वेति विचारः । पादहरणं ·SUMMARY. LI स्वीकरणापरनामधेयं हरणम् । तद्वदर्धप्रयोगे व्यस्तार्धप्रयोगे घ । पाद एषान्यथात्व- करणं पादोनहरणं वा न स्वीकरणम्। भिन्नार्थानां पादानामेकेन पादेनान्वयनं कवि- त्वमेव, तद्वत् कतिपयपदैकदेशप्रयोगौ । वाक्यस्यान्यथा व्याख्यानमपि न स्वीकरणं हरणं वा । परकीयस्य स्वीयत्वेन विलपनं दोषोदाहरणम् । मूल्यक्रयोऽपि हरणम् । नास्त्यचौरः कविजनः, परं तु यो निगुहितुं जानाति, स विना वाच्यं नन्दति । कविः कश्चिदुत्पादकः, कश्चित्परिवर्तकः, कश्चिदाच्छादकः, कश्चित्संवर्गकः, परं तु यः शब्दार्थोक्तिषु किश्चन नूतनं पश्येत , प्राच्यं किञ्चन चोल्लिखेत , स महाकविः। , p. 62 द्वादशोऽध्यायः अर्थहरणस्य विचारः । अन्ययोनिर्निद्भुतयोनिरयोनिरिति त्रयो भेदाः । अन्ययो- निर्द्विधा प्रतिबिम्बकल्प आलेख्यप्रख्यश्च । निद्भुतयोनिरपि द्विधा तुल्यदेहितुल्यः पर- पुरप्रवेशसहशश्च । अयोनिः पुनरेकादश एव । व्याख्या उदाहरणानि च प्रतिबिम्ब- कल्पादिचतुर्णामर्थानाम् । अमीपामर्थानामयस्कान्तवच्चान्वर्थाः भ्रामकचुम्बककर्षक- द्रावकाः चत्वारः लौकिकाः कवयः । पञ्चमश्च चिन्तामणिरलौकिकोऽदृष्टचरार्थदर्शी । तेषां व्याख्याः । चिन्तामणेः लौकिकालौकिकमिश्रत्वेन त्रयो भेदाः । तेपामुदाहर- णानि । प्रतिबिम्बकल्पादिचतुर्णामर्थानां प्रत्येकमाष्टक्यवशाहुत्रिंशद्धरणोपायाः । तत्र प्रतिबिम्बकल्पस्याष्टो विकल्पाः व्यस्तकः, खण्डं, तैलबिन्दुः, नटनेपथ्यं, छन्दोविनिमयः, हेतुव्यत्ययः, सङ्क्रान्तकं, सम्पुटश्च । तेपामुदाहरणानि । सोऽयं कवेरवकवित्वदायी सर्वथा प्रतिबिम्बकल्पः परिहरणीयः । , , P. 68 त्रयोदशोऽध्यायः आलेख्यप्रख्यतुल्यदेहितुल्यपरपुरप्रवेशसदृशानां प्रत्येकमष्टौ भेदाः । तत्र सम- क्रमः, विभूपणमोपः, व्युत्क्रमः, विशेपोक्तिः, उत्तंसः, नटनेपथ्यम् , एकपरिकार्यः, प्रत्यापत्तिः इति आलेख्यप्रख्यस्य अष्टौ भेदाः। विपयपरिवर्तः, द्वन्द्वविच्छित्तिः, रत्नमाला, सङ्ख्योल्लेखः, चूलिका ( संवादिनी विसंवादिनीति द्विरूपा), विधानाप- हारः, माणिक्यपुञ्जः, कन्द इति तुल्यदेहितुल्यस्याष्टौ भेदाः । अनयोर्मागयोरनुग्रा- ह्यत्वम् । हुडयुद्धं, प्रतिकञ्चकं, वस्तुसंचारः, धातुवादः, सत्कारः, जीवञ्जीवकः, भावमुद्रा, तद्विरोधी इति परपुरप्रवेशसशस्य अष्टौ भेदाः इति द्वात्रिंशद्धर- णोपायाः । अर्थवैपरीत्येन च तेषां प्रतियोगिनः । एतेषां हानोपादानविज्ञाने कवित्वम् । P. 78 ·LII SUMMARY. p.82 p. 86 चतुर्दशोऽध्यायः कविसमयलक्षणम् । स्वर्यभौमपातालीयभेदैः कविसमयत्रैविध्यम् । तेषां मध्ये भौमस्य जातिव्यगण स्तिया चतुष्प्रकारत्वम् । तेषां प्रत्येकमसतो निबन्धनात् , सतोऽप्यनिबन्धनात् , नियमतश्चेति त्रैविध्यम् । पञ्चदशोऽध्यायः गुणसमयस्यापि असतो गुणस्य निबन्धनं सतोप्यनिबन्धनं, नियमतश्चेति त्रैविध्यम् । षडशोऽध्यायः भौमवत्स्वर्योऽपि कविसमयः, विशेषस्तु चन्द्रमसि ऐक्यकल्पनादि । भौम- स्वर्ग्यवत् पातालीयः कविसमयः । विशेषस्तु नागसर्पयोः दैत्यदानवासुराणां च ऐक्यकल्पनम् । सप्तदशोऽध्यायः जगत एकद्वित्रिसप्तचतुर्दशैकविंशतिरिति पृथक पृथक् कल्पनाभेदेन भेदाः । भूलोकस्य द्वीपाः समुद्राश्च । जम्बूद्वीपस्य वर्षाणि वर्षगिरयश्च । भारतवर्षस्य नव भेदाः सम्राट्चक्रवर्तिनोाख्ये । आर्यावर्तस्य पूर्वदेशो, दक्षिणापथः, पश्चादेशः, उत्तरापथः, मध्यदेशश्चेति पञ्च विभागाः । विभागपञ्चके जनपदानां, पर्वतानां, सरितामुत्पन्नद्रव्याणां च निर्देशः । दिग्विचारः । पौरस्त्यदाक्षिणात्यपाश्चात्योदी- च्यानां देहवर्णनियमः । p.89 P.98 अष्टादशोऽध्यायः सौरचान्द्रमसे माने । ऋतुषु वायुदिग्विचारः । वर्षाधर्मवर्णनम् । शरद्धर्मवर्ण- नम्। हेमन्तधर्मवर्णनम्। शिशिरधर्मवर्णनम् । वसन्तधर्मवर्णनम् । प्रीष्मधर्मवर्णनम् । सन्धिः, शैशवः, प्रौढिः, अनुवृत्तिश्चेति ऋतूनां चतस्रोऽवस्थाः । तासामुदाहरणानि । शोभान्धोगन्धरसैः फलार्चनाभ्यां च पुष्पस्य षोढा उपयोगः। अन्ताजं, बहिाजं, बाह्यान्ताजं, सर्वव्याजं, बहुव्याज, निर्व्याजमिति फलानां षोढा भेदः। . . p. 112 ·राजशेखरविरचिता काव्यमीमांसा। कविरहस्यम् । प्रथमोऽध्यायः शास्त्रसङ्ग्रहः । अथातः काव्यं मीमांसिष्यामहे यथोपदिदेश श्रीकण्ठः परमेष्ठि- वैकुण्ठादिभ्यश्चतुःषष्टये शिष्येभ्यः, सोऽपि भगवान्स्वयम्भूरिच्छा. जन्मभ्यः स्वान्तेवासिभ्यः । तेषु सारस्वतेयो वृन्दीयसामपि वन्द्यः काव्यपुरुष आसीत् । तं च सर्वसमयविदं दिव्येन चक्षुषा भविष्य- दर्थदर्शिनं भूर्भुवःम्वस्त्रितयवर्तिनीषु प्रजासु हितकाम्यया प्रजापतिः काव्यविद्याप्रवर्तनायै प्रायुत । सोऽष्टादशाधिकरणी दिव्येभ्यः काव्यविद्यास्नातकेभ्यः सप्रपञ्च प्रोवाच । तत्र कविरहस्यं सहस्राक्ष: समाम्नासीत् , औक्तिकमुक्तिगर्भः, रीतिनिर्णयं सुवर्णनाभः, आनुप्रा- सिकं प्रचेतायन:, यमकानि चित्रंचित्राङ्गदः, शब्दश्लेषं शेषः, वास्तवं पुलस्त्यः, औपम्यमापकायनः, अतिशयं पाराशरः, अर्थश्लेषमुतथ्यः, 10 उभयालङ्कारिकं कुबेरः, वैनोदिकं कामदेवः, रूपकनिरूपणीयं भरतः, रसाधिकारिकं नन्दिकेश्वरः, दोषाधिकरणं धिषणः, गुणौपादानिक- मुपमन्युः, औपनिषदिकं कुचमारः इति ततस्ते पृथक पृथक स्वशा- स्त्राणि विरचयाचक्रुः । इत्थङ्कारश्च प्रकीर्णत्वात् सा किश्चिदुचिच्छिद इतीयं प्रयोजका(ना)ङ्गवती सङ्क्षिप्य सर्वमर्थमल्पग्रन्थेनाष्टादशाधि-15 करणी प्रणीता। तस्या अयं प्रकरणाधिकरणसमुद्देशः। शास्त्रसङ्ग्रहः 9 FT may go with yil too, or all MSS may have omitted the name of the teacher of Yamakas. , , , ·२ काव्यमीमांसायाम् , , , . 5 शास्त्र निर्देशः, काव्यपुरुषोत्पत्तिः, पदवाक्यविवेकः, पाठप्रतिष्ठा, अर्थानुशासनं, वाक्यविधयः, कविविशेषः, कविचर्या, राजचर्या, काकुप्रकाराः, शब्दार्थहरणोपायाः, कविसमयः, देशकालविभागः, भुवनकोश, इति कविरहस्यं प्रथममधिकरणमित्यादि । इति सूत्राण्यथैतेषां व्याख्या भाष्यं भविष्यति । समासव्यासविन्यासः सैष शिष्यहिताय नः॥ चित्रोदाहरणैर्वी ग्रन्थेन तु लघीयसी । . इयं नः काव्यमीमांसा काव्यव्युत्पत्तिकारणम् ॥ इयं सा काव्यमीमांसा मीमांसा यत्र वाग्लवः। वाग्लवं न स जानाति न विजानाति यस्त्विमाम् ॥ यायावरीयः सङ्घिय मुनीनां मतविस्तरम् । व्याकरोत्काव्यमीमांसां कविभ्यो राजशेग्बरः॥ इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे प्रथमोऽध्यायः शास्त्रसङ्ग्रहः । 10 द्वितीयोऽध्यायः शास्त्रनिर्देशः। इह हि वाङ्मयमुभयथा शास्त्रं काव्यं च । शास्त्रपूर्वकत्वात् का- व्यानां पूर्व शास्त्रेष्वभिनिविशेत। नवप्रवर्तितप्रदीपास्तमसि तत्त्वा- र्थसार्थमध्यक्षयन्ति । तच द्विधा-अपौरुषेयं पौरुषेयं च। अपौरुषेयं श्रुतिः। सा च मनब्राह्मणे। विवृतक्रियातन्त्रा मत्राः। मत्राणां स्तुति- 20 निन्दव्याख्यानविनियोगग्रन्थो ब्राह्मणम् । ऋग्यजुःसामवेदास्त्रयी। अथर्वणश्च तुरीयः। तत्रार्थव्यवस्थितपादा ऋचः। ताः सगीतयः सा- मानि । अच्छन्दांस्यगीतानि यजूंषि । ऋचो यजूंषि (सामानि) चाथ- र्वणं त इमे चत्वारो वेदाः । इतिहासवेदधनुर्वेदी गान्धर्वायुर्वेदावपि चोपवेदाः।"वेदोपवेदात्मा सार्ववर्णिकः पञ्चमो गेयवेदः” इति द्रौहि- 25 णिः।“शिक्षा, कल्पो, व्याकरणं, निरुक्तं, छन्दोविचितिः,ज्योतिषच १ A B. प्रदीपास्ते.

·कविरहस्ये द्वितीयोऽध्यायः । षडङ्गानि" इत्याचार्याः। “उपकारकत्वादलङ्कारः सप्तममङ्गम्” इति यायावरीयः । ऋते च तत्स्वरूपपरिज्ञानाद्वेदार्थानवगतेः । यथा- "द्वा सुपर्णा सयुजा सवाया समानं वृक्षं परिषखजाते। तयोरन्यः पिप्पलं खादत्ति अनश्नन्नन्यो अभिचाकशीति ॥" सेयं शास्त्रोक्तिः। प्रत्यधिकरणं च ऋचं यजुः सामाथर्वणं ब्राह्मणं चोदाहृत्य भाषामुदाहरिष्यामः । तत्र वर्णानां स्थानकरणप्रयत्ना- दिभिः निष्पत्तिनिर्णयिनी शिक्षा आपिशलीयादिका । नानाशा- खाधीतानां मन्त्राणां विनियोजकं सूत्रं कल्पः । सा च यजुर्विद्या । शब्दानामन्वाख्यानं व्याकरणम् । निर्वचनं निरुक्तम् । छन्दसां प्रतिपादयित्री छन्दोविचितिः । ग्रहगणितं ज्योतिषम् । अलङ्कार-10 व्याख्यानं तु पुरस्तात् । पौरुषेयं तु पुराणम् , आन्वीक्षिकी, मीमांसा, स्मृतितत्रमिति चत्वारि शास्त्राणि । तत्र वेदाख्यानोपनिबन्धनप्रायं पुराणमष्टाद- शधा । यदाहुः- "सर्गः प्रतिसंहारः कल्पो मन्वन्तराणि वंशविधिः। जगतो यत्र निबद्धं तद्विज्ञेयं पुराणमिति ॥" "पुराणप्रविभेद एवेतिहासः” इत्येके । स च द्विधा परि(र)क्रियापु- राकल्पाभ्याम् । यदाहु:- "परि(र)क्रिया पुराकल्प इतिहासगतिर्दिधा । स्यादेकनायका पूर्वा द्वितीया बहुनायका ॥" तत्र रामायणं भारतं चोदाहरणे । आन्वीक्षिकीं तु विद्यावसरे वक्ष्यामः । निगमवाक्यानां न्यायैः सहस्रेण विवेकी मीमांसा । सा च द्विविधा विधिविवेचनी ब्रह्मनिदर्शनी च । अष्टादशैव श्रुत्यर्थस्मरणात्स्मृतयः । “तानीमानि चतुर्दश विद्यास्थानानि, यदुत वेदाश्चत्वारः, षडङ्गानि, चत्वारि शास्त्राणि” इत्याचार्याः । तान्येतानि: कृत्स्लामपि भूर्भुवःवस्त्रयीं व्यासज्य वर्तन्ते । तदाहुः- "विद्यास्थानानां गन्तुमन्तं न शक्तो जीवेवर्षाणां योऽपि साग्रं सहस्रम् । १ A B. वेदार्थानवगतिः. 1) 20 . , , ·४ काव्यमीमांसायाम् तस्मात्सङ्क्षपादर्थसन्दोह उक्तो व्यासः संत्यक्तो ग्रन्थभीरुप्रियार्थम् ॥" "सकलविद्यास्थानकायतनं पश्चदशं काव्यं विद्यास्थानम्" इति यायावरीयः । गद्यपद्यमयत्वात् कविधर्मत्वात् हितोपदेशकत्वाच तद्धि शास्त्राण्येनुधावति । "वार्ता कामसूत्रं शिल्पिशास्त्रं दण्ड- नीतिरिति पूर्वैः सहाष्टादश विद्यास्थानानि" इत्यपरे । आन्वीक्षिकी त्रयी वार्ता दण्डनीतिश्चेति विद्याः । “दण्डनीतिरेवैका विद्या" इत्यौशनसाः। दण्डभयाद्धि कृत्स्नो लोकः म्वेषु खेषु कर्मस्ववतिष्ठते। "वार्ता दण्डनीति विद्ये” इति बार्हस्पत्याः । वृत्तिर्विनयग्रहणं च 10 स्थितिहेतुर्लोकयात्रायाः । “त्रयीवा दण्डनीतयस्तिस्रो विद्याः" इति मानवाः । यी हि वा दण्डनीत्योरुपदेष्ट्री । “आन्वीक्षिकी- त्रयीचा दण्डनीतयश्चनस्रो विद्या” इति कौटिल्यः । आन्बी- क्षिक्या हि विवेचिता त्रयी वार्तादण्डनीत्योः प्रभवति । “पञ्चमी साहित्यविद्या" इति यायावरीयः। सा हि चतसृणामपि विद्यानां 1 निष्यन्दः । आभिर्धर्मार्थों यद्विद्यात्तद्विद्यानां विद्यात्वम् । तत्र नयी व्याख्याता । द्विधा'चान्वीक्षिकी पूर्वोत्तरपक्षाभ्याम् । अर्ह- दन्तदर्शने लोकायतं च पूर्वः पक्षः । सायं न्यायवैशेषिको चोत्तरः । त इमे षट् तर्काः। तत्र च तिस्रः कथा भवन्ति वादो, जल्पो, वितण्डा च । मध्यस्थयोस्तत्त्वावबोधाय वस्तुतत्त्वपरामशों 20 वादः । विजिगीषोः स्वपक्षसिद्धये छलजातिनिग्रहादिपरिग्रहो जल्पः । खपक्षस्यापरिग्रहीत्री परपक्षस्य दूषयित्री वितण्डा । कृषिपाशुपाल्ये वणिज्या च वार्ता । आन्वीक्षिकीत्रयीवार्तानां योगक्षेमसाधनो दण्डस्तस्य नीतिर्दण्डनीतिः । तस्यामार'त्ता लोक- यात्रा । इति शास्त्राणि । सामान्यलक्षणं चैषाम्--- "सरितामिव प्रवाहास्तुच्छाः प्रथमं यथोत्तरं विपुला। ये शास्त्रसमारम्भा भवन्ति लोकस्य ते वन्द्याः॥" , 25 १ A B •ण्यनुधावन्ति. २ B omits षद् तर्काः । तत्र च.

·कविरहस्ये तृतीयोऽध्यायः।
सूत्रादिभिश्चैषां प्रणयनम् । तत्र सूत्रणात् सूत्रम् । यदाहु:-
"अल्पाक्षरमसन्दिग्धं सारवद्विश्वतो मुखम् ।
अस्तोभमनवद्यश्च मूत्रं सूत्रकृतो विदुः॥"
सूत्राणां सकलसारविवरणं वृत्तिः। सूत्रवृत्तिविवेचनं पद्धतिः।
आक्षिप्य भाषणाद्भाष्यम् । अन्तर्भाष्यं समीक्षा । अवान्तरार्थवि-5
च्छेदश्च सा । यथासम्भवमर्थस्य टीकनं टीका । विषमपदभञ्जिका
पञ्जिका । अर्थप्रदर्शनकारिका कारिका । उक्तानुक्तदुरुक्तचिन्ता
वार्तिकमिति शास्त्रभेदाः ।
"भवति प्रथयन्नर्थ लीनं समभिप्लुतं स्फुटीकुर्वन् ।
अल्पमनल्पं रचयन्ननल्पमल्पं च शास्त्रकविः॥"
शास्त्रैकदेशस्य प्रक्रिया प्रकरणम् । अध्यायादयस्त्ववान्तरवि-
च्छेदाः कृतिभिः स्वतन्त्रतया प्रणीता इत्यपरिसङ्ख्येया अनाख्येयाश्च ।
शब्दार्थयोर्यथावत्सहभावेन विद्या साहित्यविद्या । उपविद्यास्तु
चतुःषष्टिः । ताश्च कला इति विदग्धवादः। स आजीवः काव्यस्य ।
तमोपनिषदिके वक्ष्यामः
इत्यनन्तोऽभियुक्तानामत्र संरम्भविस्तरः।
त्यक्तो निपुणधीगम्यो ग्रन्थगौरवकारणात् ॥
इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे
द्वितीयोऽध्यायः शाखनिर्देशः ॥
10
15
20
तृतीयोऽध्यायः काव्यपुरुषोत्पत्तिः ।
एवं गुरुभ्यो गिरः पुण्याः पुराणीः शृणुमः स्म, यत्किल धिषणं
शिष्याः कथाप्रसङ्गे पप्रच्छुः, कीदृशः पुनरसौ सारखतेयः काव्यपुरुषो
वो गुरुः ? इति । स तान् बृहताम्पतिरुचे ।
पुरा उत्रीयन्ती सरखती तुषारगिरौ तपस्यामास । प्रीतेन मनसा
१B विच्छेदः.

·w काव्यमीमांसायाम् तांविरिश्चःप्रोवाच 'पुत्रं ते सृजामि' [इति]। अथैषा काव्यपुरुषं सुषुवे। सोऽभ्युत्थाय सपादोपग्रहं छन्दखतीं वाचमुदचीचरत् । "यदेतद्वाअयं विश्वमर्थमूर्त्या विवर्त्तते । सोऽस्मि काव्यपुमानम्ब पादौ वन्देय तावको ॥” [इति] 5 तामाम्नायदृष्टचरीमुपलभ्य भाषाविषये छन्दोमुद्रां देवी ससम्म- दमङ्कपर्यङ्केनादाय तमुदलापयत् । “वत्स सच्छन्दस्काया गिरः प्रणे- तर्वाायमातरमपि मातरं मां विजयसे । प्रशस्यतमं चेदमुदाहरन्ति यदुत 'पुत्रात्पराजसो द्वितीयं पुत्रजन्म' इति । त्वत्तः पूर्वे हि विद्वांसो गद्यं ददृशुर्न पद्यम् । त्वदुपज्ञमथातः छन्दस्वद्वचः प्रवस्य॑ति । अहो 10श्लाघनीयोऽसि । शब्दार्थी ते शरीरं, संस्कृतं मुग्वं, प्राकृतं बाहुः, जधनमपभ्रंशः, पैशाचं पादौ, उरो मिश्रम्। समः प्रसन्नो मधुर उदार ओजखी चासि । उक्तिचणं च ते वचः, रस आत्मा, रोमाणि छन्दांसि, प्रश्नोत्तरप्रवह्निकादिकं च वाकेलिः, अनुप्रासोपमादयश्च त्वामलङ्कु- र्वन्ति।भविष्यतोऽर्थस्याभिधात्री श्रुतिरपि भवन्तमभिष्टौति ॥ 13 "चत्वारि शृङ्गान्त्र(ख)योऽस्य पादा द्वे शीर्षे सप्तहस्तासोऽस्य । त्रिधा बद्धोवृषभोरोरवीति महो देवो मर्त्यमा (त्या आ)विवेश॥"इति तथापि संघृणु प्रगल्भस्य पुंसः कर्म । बालोचितं चष्टव” इति निगद्य निवेश्य चैनमनोकहाश्रयिणि गण्डशैलतलतल्पे स्नातुमन- गङ्गां जगाम । तावच्च कुशान् समिधश्च समाहत्तुं निःसृतो महामुनि- "शना परिवृत्ते पूषण्यूष्मोपप्लुतं तमद्राक्षीत् । कस्यायमनाथो बाल इति चिन्तयन्वमाश्रमपदमनैषीत् । क्षणादाश्वस्तश्च स सारस्वतेय. स्तस्मै छन्दखतीं वाचं समचारयत् । अकस्माबिस्मापयन्स चाभ्युवाच । "या दुग्धाऽपि न दुग्धेव कविदोग्धृभिरन्वहम् । हृदि नः सन्निधत्तां सा सूक्तिधेनुः सरखती ॥” इति । सर्वकमध्येतृणां च सुमेधस्त्वमादिदेश । ततः प्रभृति तमुशनसं सन्तः कविरित्याचक्षते । तदुपचाराच कवयः कवय इति लोक- १B विरंचः.

·10 कविरहस्ये तृतीयोऽध्यायः । यात्रा। कविशब्दश्च कबू वर्ण इत्यस्य धातोः काव्यकर्मणो रूपम् । काव्यैकरूपत्वाच सारखतेयेऽपि काव्यपुरुष इति भत्त्या प्रयुञ्जते । ततश्च विनिवृत्ता वाग्देवी तत्र पुत्रमपश्यन्ती मध्येहृदयं चक्रन्द । प्रसङ्गागतश्च वाल्मीकिमुनिवृषा सप्रश्रयं तमुदन्तमुदाहृत्य भगवत्यै भृगुमंतेराश्रमपदमदर्शयत् । सापि प्रस्तुतपयोधरा पुत्रायाङ्कपाली, ददाना शिरसि च चुम्बन्ती स्वस्तिमता चेतसा प्राचेतसायापि महर्षये निभृतं सच्छन्दांसि वचांसि प्रायच्छत् । अनुप्रेक्षितश्च स नया निषादनिहतसहचरीकं क्रौञ्चयुवानं करुणक्रेङ्कारया गिरा क्रन्दन्तमुदीक्ष्य शोकवान् श्लोकमुजगाद । "मा निषाद प्रतिष्ठां त्वमगमः शाश्वतीः समाः। यत्क्रौश्चमिथुनादेकमवधीः काममोहितम् ॥” [इति] ततो दिव्यदृष्टिदेवी तस्मा अपि श्लोकाय वरमदात्, यदुतान्यदन- धीयानो यःप्रथममेनमध्येष्यते स सारखतः कविः सम्पत्स्यत इति । स तु महामुनिः प्रवृत्तवचनो रामायणमितिहासं समदृभत्। द्वैपायनस्तु श्लोकप्रथमाध्यायी तत्मभावेन शतसाहस्रीं संहितां 15 भारतम् । एकदा तु ब्रह्मर्षिवृन्दारकयोः श्रुतिविवादे दाक्षिण्यवा- न्देवः स्वयम्भूस्तामिमां निर्णत्रीमुद्दिदेश । उपश्रुतवृत्तान्तश्च मातरं ब्रजन्तीं सोऽनुवबाज । 'वत्स परमेष्ठिनाऽननुमतस्य ते न ब्रह्मलोक- यात्रा निःश्रेयसाय' इत्यभिदधाना हठान्यवर्तयदेनमात्मना तु प्रव- वृते । ततः स काव्यपुरषो रूषां निश्चक्राम । प्रिय मित्रमस्य च 20 कुमारः साक्रन्दं रुदन्नभ्यधीयत गौर्या 'तात तूष्णीमास्व साऽहमेषा निषेधामि' इति निगदन्ती समचिन्तयत् । प्रायः प्राणभृतां प्रेमाण- मन्तरेण नान्यद्वन्धनमस्ति, तदेतस्य वशीकरणं कामपि स्त्रियं मृजामीति विचिन्तयन्ती साहित्यविद्यावधूमुदपादयत्। आदिशचैना- धर्मपतिः : पुरः प्रतिष्ठते। तदनुवर्तस्वैनं निवर्तय च । भव-25 न्तोऽपि हन्त मुनयः काव्यविद्यालातकाचरितमेतयोः स्तुध्वमेतद्धि १ A भृगुभूतेः. २A B अनुप्रेषितश्च. ३ A भयात. निषेधयामीति. ६ Bएतद्विधं. मेष ते रुषा है Bomits रुषा. ५ B ·10 काव्यमीमांसायाम् वःकाव्यसर्वखं भविष्यतीत्यभिधाय भगवती भवानी जोषमासिष्ट। तेऽपि तथा कर्तुमवतस्थिरे । अथ सर्वे प्रथम प्राची दिशं शिश्रियुर्यत्राङ्गवङ्गसुब्रह्मपुण्ड्राद्या जनपदाः । तत्राभियुञ्जाना तमौमेयी यं वेषं यथेष्टमसेविष्ट स तत्रत्याभिः स्त्रीभिरन्वक्रियत । सा प्रवृत्तिरोड्रमागधी । तां ते मुनयोभितुष्टुवुः- "आर्द्रचन्दनकुचार्पितसूत्रहारः सीमन्तचुम्बिसिचयः स्फुटबाहुमूलः। दूर्वाप्रकाण्डरुचिरास्वगुरूपभोगा- गौडाङ्गनामु चिरमेष चकास्तु वेषः ॥" यदृच्छयापि यादृनेपथ्यः स सारम्वतेय आसीत् तद्वेषाश्च पुरुषा बभूवुः। साऽपि सैव प्रवृत्तिः। यदपरं नृत्तवाद्यादिकमेषा चक्रे सा भारती वृत्तिः । तां ते मुनय इति समानं पूर्वेण । तथाविधाकल्प- यापि तया यदवशंवदीकृतः समासवदनुप्रासवद्योगवृत्तिपरम्परा- 15 गर्भ जगाद सा गौडीया रीतिः । तां ते मुनय इति समानं पूर्वेण । वृत्तिरीतिखरूपं यथावसरं वक्ष्यामः। ततश्च स पश्चालान्प्रत्युचचाल यत्र पाश्चालशूरसेनहस्तिनापुरका- श्मीरवाहीकबालीकबाह्नवेयादयो जनपदाः। तत्राभियुञ्जाना तमौ- मेयीति समानं पूर्वेण । सा पाश्चालमध्यमा प्रवृत्तिः । तां ते मुन- 20 योऽभितुष्टुवुः "ताटवल्गनतरङ्गितगण्डलेख- मानाभिलम्बिदरदोलिततारहारम् । आश्रोणिगुल्फपरिमण्डलितोत्तरीयं वेषं नमस्यत महोदयसुन्दरीणाम् ॥" किभिनतिमना यन्नेपथ्यः स सारखतेय आसीदिति समानं पूर्वेण। साऽपि यदीषवृत्तगीतवाद्यविलासादिकं दर्शयाम्बभूव सा सात्वती वृत्तिः । आविद्धगतिमत्त्वात्सा चारभटी । तां ते मुनय इति समानं पूर्वेण । तथाविधाकल्पयाऽपि तया यदीपदशंवदा त 25 १ A तान्तरीयं.

·or 10 कविरहस्ये तृतीयोऽध्यायः । ईषदसमासभाषदनु। समुपचारगर्भश्च जगाद सा पाश्चाली रीतिः। तां ते मुनय इति समानं पूर्वेण । ततः सोऽवन्तीन्प्रत्युच्चचाल यत्रावन्तीवैदिशसुराष्ट्रमालवावुदभृ- गुकच्छादयो जनपदाः। तत्राभियुञ्जाना तमौमेयीति समानं पूर्वेण। सा प्रवृत्तिरावन्ती । पाञ्चालमध्यमादाक्षिणात्ययोरनsawei हि । सा। अत एव सात्त्वतीकैशिक्यौ तत्र वृत्ती। तांते मुनयोऽभितुष्टुवुः- "पाश्चालनेपथ्यविधिनराणां स्त्रीणां पुनर्नन्दतु दाक्षिणात्यः । यज्जल्पितं यच्चरितादिकं त- दन्योन्यसंभिन्नमवन्तिदेशे॥" ततश्च स दक्षिणां दिशमाससाद यत्र मलयमेकलकुन्तलकेरल- पालमञ्जरमहाराष्ट्रगङ्गकधिङ्गादयो जनपदाः । तत्राभियुञ्जाना तमोमेयीति समानं पूर्वेण । सा दाक्षिणात्या प्रवृत्तिः । तां ते मुनयोऽभितुष्टुवुः। "आमूलतो वलितकुन्तलचारुचूड- चालकाचयलाञ्छितभालभागः। कक्षानिवेशनिबिडीकृतनीविरेष वेषश्चिरं जयति केरलकामिनीनाम् ॥" तामनुरक्तमनाः स यन्नेपथ्यः सारवतेय आसीदिति समानं पूर्वेण । साऽपि यद्विचित्रनृत्तगीतवाद्यविलासादिकमाविर्भावया-20 मास सा कैशिकी वृत्तिः। तां ते मुनय इति समानं पूर्वेण । यदत्यर्थं च स तया वशंवदीकृतः स्थानानुप्रासवदसमासं योगवृत्तिगर्भ च जगाद सा वैदर्भी रीतिः । तां ते मुनय इति समानं पूर्वेण । तत्र वेषविन्यासक्रमः प्रवृत्तिः, विलासविन्यासक्रमो वृत्तिः, वचन- विन्यासक्रमो रीतिः। “चतुष्टयी गतिवृत्तीनां प्रवृत्तीनां च, देशानां 25 पुनरानन्त्यं तत्कथमिव काल्येन परिग्रहः” इत्याचार्याः। "अनन्ता- नपि हि देशांश्चतुर्धेवाकल्प्य कल्पयन्ति चक्रवर्तिक्षेत्रं सामान्येन, १ B मानिनीनाम्. 15 , २ ·१० काव्यमीमांसायाम् तदवान्तरविशेषैः पुनरनन्ता एव" इति यायावरीयः । दक्षिणा- समुद्रादुदीची दिशं प्रति योजनसहस्रं चक्रवर्तिक्षेत्रं, तत्रैष नेपथ्य- विधिः । ततः परं दिव्याद्या अपि यं देशमधिवसेयुस्तद्देश्यं वेषमा- श्रयन्तो निबन्धनीयाः । स्वभूमौ तु कामचारः। द्वीपान्तरभवानां तदनुसारेण वृत्तिप्रवृत्ती । रीतयस्तु तेस्रस्तास् पुरस्तात् । तत्रास्ति मनोजन्मनो देवस्य क्रीडावासो विदर्भेषु वत्सगुल्मं नाम नगरम् । तत्र सारख यस्तामोमेरी गन्धर्ववत्परिणिनाय । ततस्तबधूवरं विनिवृत्त्य तेषु प्रदेशेषु विहरमाणं तुषारगिरिमेवाजगाम यत्र गौरी सरखती च मिथः सम्बन्धिन्यौ तस्थतुः । ती च कृतवन्दनी 10 दम्पती दत्त्वाऽऽशिषं प्रभावमयेन वपुषा कविमानसनिवासिनौ चक्रतुः। सयोश्च कविलोकवर्गसगै तमकल्प(येतां, यत्र काव्यमयेन शरीरेण मर्त्यमधिवसन्तो दिव्येन देहेन कवय आकल्पं मोदन्ते । इत्येष काव्यपुरुषः पुरा सृष्टः स्वयम्भुवा । एवं विभज्य जानानः प्रेत्य चेह च नन्दति ॥ इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे तृतीयोऽध्यायः काव्यपुरुषोत्पत्तिः ।। 15 . चतुर्थोऽध्यायः पदवाक्यविवेकः । द्विविधं शिष्यमाचक्षते यदुत बुद्धिमानाहार्यबुद्धिश्च । यस्य निस- र्गतः शास्त्रमनुधावति बुद्धिः स बुद्धिमान् । यस्य च शास्त्राभ्यासः 20 संस्कुरुते बुद्धिमसावाहार्यबुद्धिः। त्रिधा च सा, स्मृतिर्मतिः प्रज्ञेति । आशान्तस्यार्थस्य स्मी स्मृतिः। वर्तमानस्य मन्त्री मतिः। अना- गतस्य प्रज्ञात्री प्रज्ञेति । सा त्रिप्रकाराऽपि कवीनामुपकी । तयो- बुद्धिमान् शुश्रूषते शृणोति गृह्णीते धारयति विजानात्एहतेऽपोहति तत्त्वं चाभिनिविशते । आहार्यवय एव गुणाः किन्तु प्रशा- 25 स्तारमपेक्षन्ते । अहरहः सुगुरूपासना तयोः प्रकृष्टो गुणः । साहि इद्धिविकासकामधेनुः । तदाहु:- ·कविरहस्ये चतुर्थोऽध्यायः। "प्रथयति पुरः प्रज्ञाज्योतियथार्थपरिग्रहे तदनु जनयत्यूहापोहक्रियाविशदं मनः। अभिनिविशते तस्मात्तत्त्वं तदेकमुखोदयं सह परिचयो विद्यावृद्धः क्रमादमृतायते ॥" ताभ्यामन्यथावृत्तिर्दुर्बुद्धिः । तत्र वुद्धिमतः प्रतिपत्तिः। स ग्वलु। सकृदभिधानप्रतिपन्नार्थः कविमार्ग मृगयितुं गुरुकुलमुपासीत । आहार्यबुद्धेस्तु द्वयमप्रतिपत्तिः सन्देहश्च । स खल्वप्रतिपन्नमर्थ प्रतिपत्तुं सन्देहं च निराकर्तुमाचार्यानुपतिष्ठेत । दुर्बुद्धेस्तु सर्वत्र मतिविपर्यास एव । स हि नीलीमेचकितसिचयकल्पः। अनाधेयगुणा- न्तरत्वात्।तं यदि सारस्वतोऽनुभावःप्रसादयति तमौ(दौ)पनिषदिके 10 वक्ष्यामः। "काव्यकर्मणि कवेः समाधिः परं व्याप्रियते" इति श्यामदेवः। मनस एकाग्रता समाधिः। समाहितं चित्तमर्थान्पश्यति । उक्तश्च- "सारस्वतं किमपि तत्सुमहारहस्य यद्गोचरे च विदुषां निपुणैकसेव्यम् तत्सिद्धये परमयं परमोऽभ्युपायो यचेतसो विदितवेद्यविधेः समाधिः॥" "अभ्यासः” इति मङ्गलः । अविच्छेदेन शीलनमभ्यासः । स हि सर्वगामी सर्वत्र निरतिशयं कौशलमाधत्ते।"समाधिरान्तरःप्रयत्नो बाह्यस्त्वभ्यासः । तावुभावपि शक्तिमुद्भासयतः । सा केवलं 20 काव्ये हेतुः” इति यायावरीयः । विप्रमृतिश्च सा प्रतिभाव्युत्पत्ति- भ्याम् । शक्तिकर्तृके हि प्रतिभाव्युत्पत्तिकर्मणी । शक्तस्य प्रति- भाति शक्तश्च व्युत्पद्यते । या शब्दग्राममर्थसार्थमलङ्कारतमुक्ति- मार्गमन्यदपि तथाविधमधिहृदयं प्रतिभासयति सा प्रतिभा । अप्रतिभस्य पदार्थसार्थः परोक्ष इव । प्रतिभावतः पुनरपश्यतोऽपि 25 १ B क्रियाविसरं. २ BC बुद्धिः. ३ B काव्यहेतुः. ४ Explained in A in the margin as दूरवर्तिनी. 15 ·5 10 काव्यमीमांसायाम् प्रत्यक्ष इव । यतो मेधाविरुद्रमारतासादयो जात्यन्धाः कवयः श्रूयन्ते । किञ्च न महाकवयोऽपि देशद्वीपान्तरकथापुरुषादिदर्शनेन तत्रत्यां व्यवहृतिं निबध्नन्ति स्म । तत्र देशान्तरव्यवहार:- "प्राणानामनिलेन वृत्तिरुचिता सत्कल्पवृक्षे वने तोये काञ्चनपझरेणुकपिशे पुण्याभिषेकक्रिया। ध्यानं रत्नशिलागृहेषु विवुधस्त्रीसन्निधौ संयमो यत्कावन्ति तपोभिरन्यमुनयस्तस्मिंस्तपस्यन्त्यमी ॥" ईपान्तरव्यवहारः-"अनेन सार्द्ध विहराम्बराशे- स्तीरेषु ताडीवनमर्मरेषु । द्वीपान्तरानातला गपुष्प- रपाकृतवेदलवा मरुद्भिः॥" कथापुरुषव्यवहार:-"हरोऽपि तावत्परिवृत्तधैर्य- चन्द्रोदयारम्भ इवाम्बुराशिः। उमामुखे बिम्बफलाधरोष्टे व्यापारयामास विलोचनानि ॥" आदिग्रहणात्- "तथागतायां परिहासपूर्व सख्यां सबी वेत्रभृदावभाषे । बाले व्रजामोऽन्यत इत्यथैनां वधूरसूयालटिलं ददर्श ॥" सा च द्विधा कारयित्री भावयित्री च । कवेरुपकुर्वाणा कार- यित्री । साऽपि त्रिविधा सहजाऽऽहायौंपदेशिकी च । जन्मान्तर- संस्कारापेक्षिणी सहजा । जन्मसंस्कारयोनिराहार्या । मन्नतन्त्राशुप- देशप्रभवा औपदेशिकी। ऐहिकेन कियताऽपि संस्कारेण प्रथमां (मा)। तां सहजेति व्यपदिशन्ति । महता पुनराहार्या । औपदेशिक्या: 28 पुनरैहिक एव उपदेशकाला, ऐहिक एवं संस्कारकालः । त इमे 15 20 A .रुणौछ. २ A सख्या.

·कविरहस्ये चतुर्थोऽध्यायः। प्रयोऽपि कवयः सारखत, आभ्यासिक, औपदेशिकश्च । जन्मा- न्तरसंस्कारप्रवृत्तसरखतीको बुद्धिमान्सारखतः। इह जन्माभ्यासो- द्वासितभारतीक आहार्यबुद्धिराभ्यासिकः। उपदेशित(श)दर्शितवा- विभवो दुर्बुद्धिरौपदेशिकः । “तस्मान्नेतरौ तशेषमनुतिष्ठताम् । नहि प्रकृतिमधुरा द्राक्षा फाणितसंस्कारमपेक्षते” इत्याचार्याः। "न" इति यायावरीयः । एकार्थ हि क्रियाद्वयं द्वैगुण्याय सम्पद्यते । "तेषां पूर्वः पूर्वः श्रेयान्” इति श्यामदेवः । यत: 'सारखतः स्वतन्त्रः स्याद्भवेदाभ्यासिको मितः । उपदेशकविस्त्वत्र वल्गु फल्गु च जल्पति ॥" "उत्कर्षः श्रेयान्" इति यायावरीयः । स चानेकगुणसन्निपाते10 भवति । किञ्च- “बुद्धिमत्त्वं च काव्याङ्गविद्यास्वभ्यासकर्म च । कवेश्वोपनिषच्छक्तिस्त्रयमेकत्र दुर्लभम् ॥ काव्यकाव्याङ्गविद्यासु कृताभ्यासस्य धीमतः। मन्त्राः ष्ठाननिष्ठस्य नेदिष्ठा कावेरराजता ॥" कवीनां तारतम्यतश्चैष प्रायोवादः । "एकस्य तिष्ठति कवेर्गृह एव काव्य- मन्यस्य गच्छति सुहृद्भवनानि यावत् । न्यस्यावि(स्यद्वि)दग्धवदनेषु पदानि शश्व- कस्यापि सञ्चरति विश्वकुतृहलीव ॥" सेयं कारयित्री । भावकस्योपकुर्वाणा भावयित्री । सा हि कवेः श्रममभिप्रायं च भावयति । तया ग्बलु फलितः कवेापारतरुः । अन्यथा सोऽवकेशी स्यात् । “कः पुनरनयोर्भेदो यत्कविर्भावयति भावकश्च कविः” इत्याचार्याः । तदाहु:- "प्रतिभाता तम्येन प्रतिष्ठा भुवि भूरिधा। भाषकर कवि-मायो न भजत्यधमां दशाम् ॥" 15 20 25 ·१४ काव्यमीमांसायाम् 5 "न" इति कालिदासः । पृथगेव हि कालावकत्वं, भाव- कत्वाचवम् । स्वरूपभेदाद्विषयभेदाच । यदाहु:- "कश्चिद्वाचं रचयितुमलं श्रोतुमेवापरस्तां कल्याणी ते मतिमभयथा विस्मयं नस्तनोति । नोकस्मिन्नतिशयवतां सन्निपातो गुणाना- मेकः सूते कनकमुपलस्तत्परीक्षाक्षमोऽन्यः॥" "ते च द्विधा । अरोचकिनः, सतृणाभ्यवहारिणश्च” इति मङ्गलः। "कवयोऽपि भवन्ति” इति वामनीयाः । “चतुर्दा” इति याया- वरीयः "मत्सरिणस्तत्वाभिनिवेशिनश्च" । "तत्र विवेकिनः पूर्वे 10 तद्विपरीतास्तु ततोऽनन्तराः” इति वामनीयाः। "अरोचकिता हि तेषां नैसर्गिकी ज्ञानयोनिर्वा । नैसर्गिकी हि संस्कारशतेनापि वङ्गमिव कालिकां ते ने जहति । ज्ञानयोनौ तु तस्यां विशिष्टज्ञे- यवति वचसि रोचकितावृत्तिरेव” इति यायावरीयः । किश्च सत्- णाभ्यवहारिता सर्वसाधारणी । तथाहि व्युत्पित्सोः कौतुकिनः 15 सर्वस्य सर्वत्र प्रथमं सा। प्रतिभाविवेकविकलता हि न गुणागुण- योर्विभागसूत्रं पातयति । ततो बहु त्यजति बहु च गृह्णाति । विवे- कानुसारेण हि बुद्धयो मधु निष्यन्दन्ते । परिणामे तु यथार्थदर्शी स्यात् । विभ्रमभ्रंशश्च निःश्रेयसं सन्निधत्ते । मत्सरिणस्तु प्रतिभा तमपि न प्रतिभातं, परगुणेषु वाचंयमत्वात् । स पुनरमत्सरी ज्ञाता 20 च विरलः। तदुक्तम्--- "कस्त्वं भोः कविरस्मि काप्यभिनवा सूक्तिः सखे पठ्यता त्यक्ता काव्यकथैव सम्प्रति मया कस्मादिदं श्रूयताम् । यः सम्यग्विविनक्ति दोषगुणयोः सारं वयं सत्कविः सोऽस्मिन्भावक एव नास्त्यथ भवेदेवान्न निर्मत्सरः॥" 23 तत्त्वाभिनिवेशी तु मध्येसहस्रं यद्येकः । तदुक्तम्- "शब्दानां विविनक्ति गुम्फनविधीनामोदते मूक्तिभिः सान्द्रं लेदि रसामृतं विचिनुते तात्पर्यमुद्रां च यः। १ A reads न after हि. २ A. omits न. ३ A विरलं. ४ A रसोदयं.

·5 10 कविरहस्ये चतुर्थोऽध्यायः। पुण्यैः सङ्घटते विवेक्तृविरहादन्तर्मुखं ताम्यतां केषामेव कदाचिदेव(ष) सुधियां काव्यश्रमझो जनः॥ स्वामी मित्रं च मन्त्री च शिष्यश्चाचार्य एव च । कवेर्भवति ही चित्रं किं हि तद्यन्न भावकः ॥ काव्येन किं कवेस्तस्य तन्मनोमात्रवृत्तिना। नीयन्ते भावकर्यस्य न निबन्धा दिशो दश ॥ सन्ति पुस्तकविन्यस्ताः काव्यबन्धा गृहे गृहे । वित्रास्तु भावकमनःशिलापट्टनिकुहिताः॥ सत्काव्ये विक्रियाः काश्चिद्भावकस्योल्लसन्ति ताः। सर्वाभिनयनिर्णीतौ दृष्टा नाट्यसृजा न याः ॥ वाग्भावको भवेत्कश्चित्कश्चिद्धृदयभावकः । साविकरानिकः कश्चिदनुभावैश्च भावकः ।। गुणादानपरः कश्चिदोषहानपरोऽपरः । गुणदोषाहृतित्यागपरः कश्चन भावकः ॥ अभियोगे समानेऽपि विचित्रो यदयं क्रमः। तेन विद्मः प्रसादोऽत्र नृणां हेतुरमानुषः॥ न निसर्गकविः शास्त्रे न क्षुण्णः कवते च यः। विडम्पयति सात्मानमाग्रहग्रहिलः किल । कवित्वं न स्थितं यस्य काव्ये च कृतकौतुकः। तस्य सिद्धिः सरस्वत्यास्तन्त्रमन्त्रप्रयोगतः ॥ प(य)दाऽन्तरं वेत्ति सुधीः स्ववाक्यपरवाक्ययोः। सदा स सिद्धो मन्तव्यः कुकविः कविरेव वा ॥" कारयित्रीभावयित्र्यावितीमे प्रतिभाभिदे। अथातः कथयिष्यामो व्युत्पत्तिं काव्यमातरम् ॥ इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे चतुर्थोऽध्यायः 25 पदवाक्यविवेकः । काव्यविशेषेषु कारयित्रीभावयित्री नाम समीक्षा ॥ 15 : 20 १ BC दोषादान०, २A गुणदोषा हृदि. ३ A सोत्मानं. ४ C शिष्यविशेषेषु.

·१६ काव्यमीमांसायाम् 5 - पञ्चमोऽध्यायः काव्यपाककल्पः। "बहुज्ञता व्युत्पत्तिः” इत्याचार्याः । सर्वतोदिका हि कविवाचः। तदुक्तम्-"प्रसरति किमपि कथञ्चन नाभ्यस्ते गोचरे वचः कस्य । इदमेव तत्कवित्वं यद्वाचः सर्वतोदिकाः ॥" "उचितानुचितविवेको व्युत्पत्तिः” इति यायावरीयः । “प्रति- भाव्युत्पत्त्योः प्रतिभा श्रेयसी” इत्यानन्दः । सा हि कवेरव्युत्प- त्तिकृतं दोषमशेषमाच्छादयति । तदाह- "अव्युत्पत्तिकृतो दोषः शतया संब्रियते कवेः । यस्त्वशक्तिकृतस्तस्य झगित्येवावभासते ॥" 10 शक्तिशब्दश्चायमुपचरितः प्रतिभाने वर्तते । "एतत्किं शिरसि स्थितं मम पितुः खण्डं सुधाजन्मनो लालाट किमिदं विलोचनमिदं हस्तेऽस्य किं पन्नगाः । इत्थं क्रौञ्चरिपोः क्रमादुपगते दिग्वाससः शलिनः प्रश्ने वामकरोपरोधसुभगं देव्याः स्मितं पातु वः ॥" 13 "व्युत्पत्तिः श्रेयसी" इति मङ्गलः । सा हि कवेरशक्तिकृतं दोषमशेषमाच्छादयति । तथा हि- "कवेः संबियतेऽशक्तियुत्पत्या काव्यवम॑नि । वैदग्धीचित्त(त्र)चित्तानां हेया शब्दार्थगुम्फना ॥" त्पत्तिर्यथा-"कृतः कण्ठे निष्को नहि किमुत तन्वी मणिलता कृशं लीलापत्रं श्रवसि निहितं कुण्डलमुचि । न कौशेयं चित्रं वसनमवदातं तु वसितं समासन्नीभूते निधुवन विलासे वनितया ॥" "प्रतिभाव्युत्पत्ती मिथः समवेते श्रेयस्यौ” इति यायावरीयः। न खलु लावण्यलाभाहते रूपसम्पत् । ऋते रूपसम्पदो वा लावण्यल- 25 ब्धिर्महते सौन्दर्याय । उभययोगो यथा- 20 Bomits पा.

·कविरहस्ये पञ्चमोऽध्यायः । "जङ्घाकाण्डोरुनालो नखकिरणलसत्केसरालीकराल: प्रत्यग्रालक्तकाभाप्रसरकिसलयो मञ्जमञ्जीरभृङ्गः । भर्तुर्नत्यानुकारे जयति निजतनुखच्छलावण्यवापी- सम्भूताम्भोजशोभां विदधदभिनवांदण्डपादो भवान्याः॥" प्रतिभाव्युत्पत्तिमांश्च कविः कविरित्युच्यते । स च त्रिधा ।। शास्त्रकविः काव्यकविरुभयकविश्च । "तेषामुत्तरोत्तरीयो(रो) गरी- यान्” इति श्यामदेवः। "न" इति यायावरीयः । यथा स्वविषये सर्वो गरीयान् । नहि राजहंसश्चन्द्रिकापानाय प्रभवति, नापि चको- रोऽन्यः क्षीरोद्धरणाय । यच्छास्त्रकविः काव्ये रससम्पदं विच्छि- नति । यत्काब्यकविः शास्त्रे तर्ककर्कशमप्यर्थमुक्तिवैचित्र्येण श्लथ-10 यति । उभयकविस्तृभयोरपि वरीयान्याभयत्र परं प्रवीणः स्यात् । तस्मात्तुल्यप्रभावावेच शास्त्रकाव्यकवी । उपकार्योपकारकभावं तु मिथः शास्त्रकान्यकव्योरनुमन्यामहे । यच्छात्रसंस्कारः काव्यमनु- गृह्णाति शास्त्रैकप्रवणता तु निगृह्णाति । काव्यसंस्कारोऽपि शास्त्र- वाक्यपाकमनुरुणद्धि काव्यैकप्रवणता तु विरुणद्धि । तत्र त्रिधा 15 शास्त्रकविः । यः शास्त्रं विधत्ते, यश्च शास्त्रे काव्यं संविधत्ते, योऽपि काव्ये शास्त्रार्थ निधत्ते । काव्यकविः पुनरष्टधा । तद्यथा रचना- कविः, शब्दकविः, अर्थकविः, अलङ्कारकविः, उक्तिकविः, रसकविः, मार्गकविः, शास्त्रार्थकविरिति । तत्र रचनाकविः- "लोलल्लाङ्गलवल्लीवलयितबकुलानोकहस्कन्धगोलै- 20 ोलाङ्गलै दद्भिः प्रतिरसितजरत्कन्दरामन्दिरेषु । खण्डेषूद्दण्डपिण्डीतगरतरलकाः प्रापिरे येन वेला- मालङ्घयोत्तालतल्लस्फुटितपुटकिनीवन्धवो गन्धवाहाः॥" त्रिधा च शब्दकवि माख्यातार्थभेदेन । तत्र नामकविः- "विद्येव पुंसो महिमेव राज्ञः प्रज्ञेव वैद्यस्य दयेव साधोः । 25 १ B विदधदभिनयाद्द. २ B त्तान. ३ ·१८ काव्यमीमांसायाम् 5 .. 10 लज्जव शरस्य मृजेव यूनो विभूषणं तस्य नृपस्य सैव ॥" आख्यातकविर्यथा-"उच्चैस्तरां जहसुराजहपुर्जगर्जु- राजनिरे भुजतटीनिकरैः स्फुरद्भिः। सन्तुष्टवुर्मुमुदिरे बहु मेनिरे च वाचं गुरोरमृतसम्भवलाभगर्भाम् ॥" नामाख्यातकविः-"हतत्विषोऽन्धाः शिथिलांसवाहवः श्रि(स्त्रियो विषादेन विचेतना इव । न चुक्रुशुनों मरुदुर्न सखनु- न चेलुरासुर्लिग्विता इव क्षणम् ॥" अर्थकविः-"देवी पुत्रमसूत नृत्यत गणाः किं तिष्ठतेत्यु जे हर्षावृङ्गिरिटायुदाहृतगिरा चामुण्डयाऽऽलिङ्गिते । पायाद्वो जितदेवदुन्दुभिधनध्वानप्रवृत्तिस्तयो- रन्योन्याङ्गनिपातजर्जरजरत्स्थूलास्थिजन्मा रथः ॥" 15 द्विधाऽलङ्कारकविः शब्दार्थभेदेन । तयोः शब्दालङ्कारः- "न प्राप्तं विषमरणं प्राप्तमपापेन कर्मणा विषमरणम् । न मृतो भागीरथ्यां मृतोऽहमुपगृह्य मन्दभागी रथ्याम् ॥" अर्थालङ्कारः-"भ्रान्तजिह्वापताकस्य फणच्छत्रस्य वासुके। दंष्ट्राशलाकादारिद्र्यं कर्तुं योग्योऽस्ति मे भुजः॥" 20 उक्तिकविः-"उदरमिदमनिन्द्यं मानिनीश्वासलाव्यं स्तनतटपरिणाहो दोलतालेयसीमा। स्फुरति च वदनेन्दुदृक्प्रणालीनिपेय- स्तदिह सुदृशि कल्याः केलयो यौवनस्य ॥" यथा वा-"प्रतीच्छत्याशोकी किसलयपरावृत्तिमधरः कपोल: पाण्डत्वादवतरति ताडीपरिणतिम् । 25 १C जहसुरुजहृषु. २ C भुजतटानि करैः. कर्मणा विषमरणं च. ५ B लव्य. ३ A रन्योन्याङ्क. ४ BC प्राप्तं पापेन ·कविरहस्ये पश्चमोऽध्यायः । १९ - 5 परिम्लानप्रायामनुवदति दृष्टिः कमलिनी- मितीयं माधुर्य स्पृशति च तनुत्वं च भजते ॥" रसकवि:-"एतां विलोकय तनदरि ताम्रपर्णी- मम्भोनिधी विवृतशुक्तिपुटोद्धृतानि । यस्याः पयांसि परिणाहिषु हारमूर्त्या वामध्रुवां परिणमन्ति पयोधरेषु ॥" मार्गकविः-"मूलं चालकवीरुधां सुरभयो जातीतरूणां त्वचः सारश्चन्दनशाखिनां किसलयान्यााण्यशोकस्य च । शैरीषी कुसुमोगतिः परिणमन्मोचं च सोऽयं गणः ग्रीष्मेणोष्महरः पुरा किल ददे दग्धाय पश्चेषवे ॥" 10 शास्त्रार्थकवि:-"आत्मारामा विहितरतयो निर्विकल्पे समाधी ज्ञानोद्रेकाहिघटिततमोग्रन्थयः सत्वनिष्ठाः। यं वीक्षन्ते कमपि तमसां ज्योतिषां वा परस्ता- तं मोहान्धः कथमयममुं वेत्ति देवं पुराणम् ॥" एषां द्वित्रैर्गुणैः कनीयान् , पञ्चकर्मध्यमः, सर्वगुणयोगी महाकविः। दश च कवेरवस्था भवन्ति । तत्र च बुद्धिमदाहार्यबुद्धयोः सप्त, तिस्रश्चौपदेशिकस्य । तद्यथा काव्यविद्यानातकः, हृदयकविः, अ- न्यापदेशी, सेविता, घटमानः, महाकविः, कविराजः, आवेशिका, अविच्छेदी, सामयिता च । यः कवित्वकामः काव्यविद्योपविद्याग्र- हणाय गुरुकुलान्युपास्ते स विद्यानातकः । यो हृदय एवं कवते 20 निहुते च सहृदयकविः। यःस्वमपि काव्यं दोषभयादन्यस्येत्यपदिश्य पठति सोऽन्यापदेशी । यः प्रवृत्तवचनः पौरस्त्यानामन्यतमच्छाया- मभ्यस्यति स सेविता । योऽनवयं कवते न तु प्रबध्नाति स घटमानः । योऽन्यतरप्रबन्धे प्रवीणः स महाकविः । यस्तु तत्र तत्र भाषा- विशेषे तेषु तेषु] प्रबन्धेषु तस्मिंस्तस्मिंश्च रसे खतन्त्रः स कविराजः।25 ते यदि जगत्यपि कतिपये । यो मन्त्राद्युपदेशवशाल्लब्धसिद्विरावे. , , , १ A तलोदरि. २ AB वीक्ष्यन्ते. ३ B मंक्रमयिता.

·२० काव्यमीमांसायाम् 10 15 शसमकालं कवते स आवेशिकः । यो यदैवेच्छति तदैवाविच्छिन्न- वचनः सोऽविच्छेदी । यः कन्याकुमारादिषु सिद्धमन्त्रः सरखती सङ्कांमयति स सङ्क्रामयिता। सततमभ्यासवशतः सुकवेः वाक्यं पाकमायाति । “कः पुनरयं पाकः?" इत्याचार्याः । “परिणामः” इति मङ्गलः । “कः पुनरयं प- रिणामः?” इत्याचार्याः । “सुपां तिडां च श्रवः यैषा व्युत्पत्तिः” इति मङ्गलः । “सौशब्द्यमेतत् । पदनिवेशनिष्कम्पता पाकः" इत्याचार्याः । तदाहुः- "आवापोद्धरणे तावद्यावद्दोलायते मनः । पदानां स्थापिते स्थैर्ये हन्त सिद्धा सरस्वती ॥" "आग्रहपरिग्रहादपि पदस्थैर्यपर्यवसायस्तस्मात्पदानां परिवृत्ति- वैमुख्यं पाकः” इति वामनीयाः। तदाहुः “यस्पदानि त्यजन्त्येव परिवृत्तिसहिष्णुताम् । तं शब्दन्याय(स)निष्णाताः शब्दपाकं प्रचक्षते ॥" "इयमशक्तिर्न पुनः पाकः” इत्यवन्तिसुन्दरी । यदेकस्मिन्वस्तुनि महाकवीनामनेकोऽपि पाठः परिपाकवान्भवति । तस्माद्रसोचित- शब्दार्थसक्तिनिवन्धनः(न) पाकः । यदाह- "गुणालङ्काररीत्युक्तिशब्दार्थग्रथनक्रमः। खदते मुधियां येन वाक्यपाकः स मां प्रति ॥" 20 तदुक्तम्--"सति वक्तरि सत्यर्थे शब्दे सति रसे सति । अस्ति तन्न विना येन परिस्रवति वामधु ॥" "कार्यानुमेयतया यत्तच्छन्दनिवेद्यः परं पाकोऽभिधाविषयः।त- सहृदयप्रसिद्धिसिद्ध एव व्यवहाराङ्गमसौ” इति यायावरीयः। स च कविग्रामस्य काव्यमभ्यस्यतो नवधा भवति। तत्राचन्तय- 25 रखादु पिचुमन्दपाकम् , आदावस्वादु परिणामे मध्यमं बदरपाकम् , आदाववादु परिणामे स्वादु मुद्राका कम् , आदौ मध्यममन्ते चा- खादु वार्ताकपाकम् , आद्यन्तयोर्मध्यमं तिन्तिडीकपाकम् , आदी २ B संक्रमयति. ३ B संक्रमयिता. ४ BC श्रवः सैषा. ५ B अवापो०. ६ B च. , १A सिद्धिमन्त्रः.

·कविरहस्ये षष्ठोऽध्यायः। २१ मध्यममन्ते खादु सहकारपाकम् , आदावुत्तममन्ते चाखादु क्रमुक- पाकम् , आदावुत्तममन्ते मध्यमं पुसपाकम् , आद्यन्तयोः खादु नालिकेरपाकमिति । तेषां विष्वपि त्रिकेषु पाकाः प्रथमे त्याज्याः। वरमकविन पुनः कुकविः स्यात् । कुकविता हि सोच्छ्वासं मरणम् । मध्यमाः संस्कार्याः । संस्कारो हि सर्वस्य गुणमुत्कर्षति । द्वादशव- 5 णमपि सुवर्ण पाचकपाकेन हेमीभवति। शेषा ग्राह्याः। खभावशुद्धं हि न संस्कारमपेक्षते । न मुक्तामणेः शाणस्तारतायै प्रभवति । अन- वस्थितपाकं पुनः कपित्थपाकमामनन्ति । तत्र पलालधूननेन अन्न- कणलाभवत्सुभाषितलाभः। सम्यगभ्यस्यतः काव्यं नवधा परिपच्यते । हानोपादानसूत्रेण विभजेत्तद्धि बुद्धिमान् ॥ अयमत्रैव शिष्याणां दर्शितस्त्रिविधो विधिः । किन्तु वि(त्रि)विधमप्येतत्रिजगत्यस्य(१) वर्तते ॥ इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे शिष्यविशेषेपु काव्यपाककल्पः पञ्चमोऽध्यायः ॥ 10 15 षष्ठोऽध्यायः पदवाक्यविवेकः । व्याकरणस्मृतिनिीतः शब्दो निरुक्तनिघण्ट्रादिभिर्निर्दिष्टः। तद- भिधेयोऽर्थः । तौ पदम् । तस्य पश्च वृत्तयः-सुबवृत्तिः, समासवृत्तिः, तद्धितवृत्तिः कृवृत्तिः, तिबृत्तिश्च । गौरश्वः पुरुषो हस्तीति जाति- वाचिनः शब्दाः । हरो हरिर्हिरण्यगर्भः काल आकाशं दिगिति 20 द्रव्यवाचिनः । श्वेतः कृष्णो रक्तः पीत इति च गुणवाचिनः । प्राद- यश्चादयश्चासत्त्ववचनाः । नगरमुप प्रस्थितः पन्थाः, वृक्षमनु द्योतते विद्युदिति कर्मप्रवचनीयाः। “सेयं सुबवृत्तिः पञ्चतय्यपि वाङ्मयस्य माता” इति विद्वांसः। सुव्वृत्तिरेव समासवृत्तिः । व्याससमासा- १B हारो. २ B त्रिभ्य.. वर्तते. ३ B निर्घटादिभिः.

·२२ काव्यमीमांसायाम् वेवानयोर्भेदहेतृ । सा च षोढा इन्द्रादिभेदेन । तत्र षट्समासीस- माससूक्तम् "बन्दोऽस्मि द्विगुरस्मि च गृहे ने मे सततमव्ययीभावः। तत्पुरुष कर्म धारय येनाहं स्यां बहुव्रीहिः॥" तद्धितवृत्तिः पुनरनन्ता। तद्रि शास्त्रप्रायोवादो यदुत तद्धितमूढाः पाणिनीयाः[इति] । माञ्जिष्ठं रोचनिकं सौरं सैन्धवं वैयासीयमिति तद्धितान्ताः । प्रातिपदिकविषया चेयम् । कृवृत्तिश्च धातुविषया । कर्ता हर्ता कुम्भकारो नगरकार इति कृदन्ताः । तिन्वृत्तिर्दशधा दशलकारीभेदेन । द्विधा च सा धातुसुब्धातुविषयत्वेन । अपाक्षीत 10 पचति पक्ष्यतीति धातवीयान्याख्यातानि । अपल्लवयत् पल्लवयति पहचविष्यतीति सौन्धातवीयानि । तदिदमित्थङ्कारं पञ्चप्रकारमपि पदजातं मिथः समन्वीयमानमा- नन्त्याय कल्पते । तजन्मा चैष विदुषां वादो यत्किल दिव्यं समा- सहस्रं बृहस्पतिर्वक्ता शतक्रतुरध्येता तथापि नान्तः शन्दराशेरा- 16 सीत[इति । तत्र दयितसुब्बृत्तयो विदर्भाः। वल्लभसमासगतयो गौडाः । प्रियतद्धिता दाक्षिणात्याः। कृत्प्रयोगम्चय उदीच्याः। अभीष्टतिवृत्तयः सर्वेऽपि सन्तः। तेषां च विशेषलक्षणानुसन्धा- नेनावद्धताख्यातगणः । उक्तञ्च- "विशेषलक्षणविदा प्रयोगाः प्रतिभान्ति ये । आख्यातराशिस्तरेष प्रत्यहं हुपचीयते ॥" पदानामभिधित्सितार्थग्रन्थनाकरः सन्दर्भो वाक्यम् । “तस्य च विधाऽभिधाव्यापारः” इत्यौद्भटाः । वैभक्तः शाक्तः शक्तिविभक्ति- मयश्च । प्रतिपदं श्रूयमाणासूपपदविभक्तिषु कारकविभक्तिषु वा वैभक्तः । लुप्ताखपि विभक्तिषु समाससामर्थ्यात्तदर्थावगती 25 शाक्तः। उभयात्मा च शक्तिविभक्तिमयः। तत्र वैभक्त:- "नमस्तस्मै वराहाय लीलयोद्धरते महीम् । खुरयोर्मध्यगो यस्य मेरुः खणखणायते ॥" ३ B वृत्तयो. 20 १ A. च. २ A adds च.

·, , कविरहस्य षष्ठोऽध्यायः । २३ शाक्तः-"वित्रस्तशत्रुः स्पृहयालुलोकः प्रपन्नसामन्त उदग्रसत्वः। अधिष्ठितौदार्यगुणोऽसिपत्र- जितावनिर्नास्ति नृपस्त्वदन्यः । यथा वा-"कण्ठदोलायितोहामनीलेन्दीवरदामकाः । हरिभीत्याश्रिताशेषकालियाहिकुला इव ॥" शक्तिविभक्तिमय:--"अथागादेकदा स्पष्टचतुराशामुग्वगुतिः। तं ब्रह्मेव शरत्कालः प्रोत्फुल्लकमलासनः॥" तत्र वाक्यं दशधा। एकाख्यातम् , अनेकाख्यातम् , आवृत्ताख्या- तम्, एकाभिधेयाख्यातम् , परिणताख्यातम् , अनुवृत्ताख्यातम् , 10 समुचिताख्यातम् , अध्याहृताख्यातम् , कृदभिहिताख्यातम् , अनपे- क्षिताख्यातमिति । तत्रैकाख्यातम्-"जयत्यकपदाक्रान्तसमस्तभुवनत्रयः । द्वितीयपदविन्यासव्याकुलाभिनयः शिवः ॥" अनेकाख्यातम् । तच द्विधा सान्तरं निरन्तरम् [इति । तयोः।। प्रथमम्- "देवासुरास्तमथ मन्थगिरां विरामे पद्मासनं जय जयेति बभाषिरे च । द्राग्भेजिरे च परितो बहु मेनिरे च खाग्रेसरं विदधिरे च ववन्दिरे च ॥" 20 द्वितीयम्-"त्वं पासि हंसि तनुषे मनुषे बिभर्षि विभ्राजसे सृजसि संहरसे विरौषि । आस्से निरस्यसि सरस्यसि रासि लासि सङ्कीडसे बुडसि मेधसि मोदसे च ॥" "आख्यातपरतत्रा वाक्यवृत्तिरतो यावदाख्यातमिह वाक्यानि"; इत्याचार्याः । “एकाकारतया कारकग्रामस्यैकार्थतया च वचोवृत्ते- रेकमेवेदं वाक्यः" इति यायावरीयः। १B शकः. २C हरिभीत्याश्रिताः शेष०. ३C मेघसि.

·काव्यमीमांसायाम्
आवृत्ताख्यातम्-"जयत्यमलकौस्तुभस्तबकितांसपीठो हरि-
जयन्ति च मृगेक्षणाश्चलदपाङ्गदृष्टिक्रमाः।
ततो जयति मल्लिका तदनु सर्वसंवेदना-
विनाशकरणक्षमो जयति पञ्चमस्य ध्वनिः॥"
एकाभिधेयाख्यातम्-
"हृष्यति चूतेषु चिरं तुष्यति बकुलेषु मोदते मरुति ।
इह हि मधौ कलकूजिषु पिकेषु च प्रीयते रागी ॥"
परिणताख्यातम्-"सोऽस्मिन्जयति जीवातुः पञ्चेषोः पञ्चमध्वनिः।
ते च चैत्रे विचित्रलाककोलीकेलयोऽनिलाः॥"
10 अनुवृत्ताख्यातम्-"चरन्ति चतुरम्भोधिवेलोद्यानेषु दन्निनः ।
चक्रवालाद्रिकुलेषु कुन्दभासो गुणाश्च ते ॥"
समुच्चिताख्यातम्-“परिग्रहभराक्रान्तं दौर्गत्यगतिचोदितम् ।
मनो गन्त्रीव कुपथे चीत्करोति च याति च ॥"
यथा च-"स देवः सा दंष्ट्रा कृतकिटिविलासस्मितसिता
द्वयं दिश्यात्तुभ्यं मुदमिदमुदारं जयति(तु) च ।
उदश्चद्भिर्भूयस्तरलितनिवेशा वसुमती
यदग्रे यच्छासर्गिरिगुडकलीलामुदवहत् ॥”
अध्याहृताख्यातम्-"दोर्दण्डताण्डवभ्रष्टमुडषण्डं बिभर्ति यः।
व्यस्तपुष्पाञ्जलिपदे चन्द्रचूडः श्रिये स वः॥"
20 कृदभिहिताख्यातम्-"अभिमुखे मयि संहृतमीक्षित
हसितमन्यनिमितकथो(कृतोदयम् ।
बिनयबाधितवृत्तिरतस्तया
न विवृतो मदनो न च संवृतः॥"
अनपेक्षिताख्यातम्-"कियन्मानं जलं विप्र ? जानुदन्नं नराधिप ।
तथापीयमवस्था ते न सर्वत्र भवाशाः॥"
गुणवदलङ्कृतश्च वाक्यमेव काव्यम् । “असत्यार्थाभिधायित्वा-
नोपदेष्टव्यं काव्यम्" इत्येके । यथा-
15
26

·२५ कविरहस्ये षष्ठोऽध्यायः। "स्तेमः स्तोकोऽपि नाङ्गेश्वमितभाषिकलं चक्षुषां सैव वृत्तिः मध्येक्षीराब्धि मनाः स्फुटमथ च वयं कोऽयमीहक्प्रकारः। इत्थं दिग्भित्तिरोधक्षतविसरतया मांसलैस्त्वद्यशोभिः स्तोकावस्थानदुस्थैत्रिजगति धवले विस्मयन्ते मृगाक्ष्यः॥" यथाच- 5 10 "भ्रश्यद्भूभुनभोगीश्वरफणपवनाध्मातपातालतालु (मूलः) त्रुट्यन्नानागिरीन्द्रावलिशिखरखरास्फाललोलाम्बुराशिः उद्यन्नीरन्ध्रधूलीविधुरसुरवधूमुच्यमानोपशल्य: कल्योद्योगस्य यस्य त्रिभुवनमनः सैन्यसम्म आसीत्॥" आहुश्न-"दृष्टं किश्चिददृष्टमन्यदपरं वाचालवार्तापितं भूयस्तुण्ड(ग)पुराणतः परिणतं किचिच शास्त्रश्रुतम् । सूक्त्या वस्तु यदत्र चित्ररचनं तत्काव्यमव्याहतं रत्नस्येव न तस्य जन्म जलधेनों रोहणाबा गिरेः॥" "न" इति यायावरीयः। "नासत्यं नाम किञ्चन काव्ये यस्तु स्तुत्येष्वर्थवादः (१)। स न परं कविकर्मणि श्रुतौ च शास्त्रे च लोके चें ॥" तत्र श्रीतः-"पुष्पेिण्यौ चरतो जचे भूष्णुरात्मा फलेग्रहिः। शेरेऽस्य सर्वे पाप्मानः श्रमेण प्रपथे हताः॥" २शलार: -"आपः प्रवित्रं प्रथमं पृथिव्या- मपां पवित्रं परमं च मन्त्राः। तेषां च सामय॑जुषां पवित्रं महर्षयो व्याकरणं निराहुः॥" किञ्च-“यस्तु प्रयुक्त कुशलो विशेषे शब्दान्यथावल्यवहारकाले। सोऽनन्तमामोति जयं परत्र वाग्योगविदुष्यतिचाप-॥ 15 20 १ A explains as उपकण्ठः. २ A ०दसनः. शाने लोके च. ५ A पुष्पिन्यो. ६ B सर्वपाप्मानः, ३ B स्तुत्यैर्थवादः, ४ B श्रुती ७ Bषैः.

·२६ काव्यमीमांसायाम् 15 "कः? । वाग्योगविदेव । कुत एतत् ? । यो हि शब्दाञ्जानात्यपश- नप्यसोजानाति । यथैव हि शब्दज्ञाने धर्म एवमपशब्दज्ञानेऽप्य- धर्मः । अथवा भूयानधर्म:प्रामोति। भूयांसो ह्यपशब्दा अल्पीयांसः शब्दाः । एफकर हि शब्दस्य बहवोऽपभ्रंशाः । तद्यथा गौरि- 5 त्यस्य शब्दस्य गावी गोणी गोता गोपोसलेलेयेवमादयोऽपभ्रंशाः। अथ योऽवाग्योगविर अज्ञानं तस्य शरणम् । नात्यन्तायाज्ञानं शरणं भाव महति । यो ह्यजानन्वै ब्राह्मणं हन्यात्मरां वा पिबे त्सोऽपि, मन्ये पतितः स्यात् । एवं तर्हि सोऽनन्तमामोति जयं परत्र वाग्योगविहुष्यति चापशब्दैः । का?। अवाग्योगविदेव । अथ 10 यो वाग्योगवित् विज्ञानं तस्य शरणम् । क पुनरिदं पठितम् ? । भ्राजा नाम श्लोकाः। किञ्च भोःश्लोका अपि प्रमाणम् ?। किश्चात: ?। यदि प्रमाणमयमपि श्लोकः प्रमाणं भवितुमर्हति-- 'या(दु)दुम्बरवर्णानां घटीनां मण्डलं महत् । पीतं न गमयेत्स्वर्ग किं तत्क्रतुगतं नयेत् ॥' इति । प्रमत्तगीत एष तत्रभवतो यस्त्वप्रमत्तगीतस्तत्प्रमाणमेव इति गोनीयः। लौकिक:-"गुणानुरागमिश्रेण यशसा तव सर्पता। दिग्वधूनां मुग्वे जातमकस्मादर्द्धकुङ्कुमम् ॥" "असदुदात्तर्हि नोपदेष्टव्यं काव्यम्" इत्यपरे। यथा एवं- "वयं बाल्ये डिम्भास्तरुणिमनि यूनः परिणता- वपीच्छामो वृद्धान्परिणयविधेस्तु स्थितिरियम् । त्वयाऽऽरब्धं जन्म क्षपयितुममार्गेण किमिदं न नो गोत्रे पुत्रि कचिदपि सतीलाञ्छनमभूत् ॥” "अस्त्ययमुपदेशः। किन्तु निषेध्यत्वेन न विधेयत्वेन” इति याया- 28 वरीयः। य एवंविधा विधयः परस्त्रीषु पुंसां सम्भवन्ति तानवबु. १C दुष्यति अपशब्दैः कः? । B कः। अवाग्योगवित् । अथ वाग्योगवित् । ज्ञानं तस्य शरणम् । नात्यन्ताय ज्ञानं भवितुमर्हति । योऽह्यजानन् ब्राह्मणं हन्यात् सुरां वा पिबेत् सोऽपि मन्ये पतितः स्यात् । एवं तर्हि सोऽनन्तमाप्नोति । किश्चातः । यतः यदि प्रमाणमयमपि श्लोकः प्रमाणं भवितुमर्हति । क पुनरिदं पठितमित्याचार्याः । भ्रान्ता नाम श्लोकास्तेविति गोनर्दीयः । किश्च भोः श्लोक एव प्रमाणम् । तदनेनापि प्रमाणेन भवितव्यमित्याचार्याः “यधुदुम्बरवर्णानां घटीनां मण्डलं महत् । पीतं न गमयेत्सर्ग किं तत्क्रतुगतं नयेत्” प्रमत्तगीतमेतद्भगवतो यस्त्वप्रमत्तगीतं तत्प्रमाण- मेबेति गोनीयः॥ 20 ·6 10 कविरहस्ये षष्ठोऽध्यायः। ध्येतेति कवीनां भावः । किश्च “कविवचनायत्ता लोकयात्रा । सा च निःश्रेयसमूलम्" इति महर्षयः । यदाहुः- "काव्यमय्यो गिरो यावचरन्ति विशदा भुवि । तावत्सारखतं स्थानं कविरासाद्य मोदते ॥" किञ्च-"श्रीमन्ति राज्ञां चरितानि यानि प्रभुत्वलीलाश्च सुधाशिनां याः। ये च प्रभावास्तपसामृषीणां ताः सत्कविभ्यः श्रुतयः प्रसूताः ॥" उक्तञ्च-"ख्याता नराधिपतयः कविसंश्रयेण राजाश्रयेण च गताः कवयः प्रसिद्धिम् । राज्ञा समोऽस्ति न कवेः परमोपकारी राज्ञो न चास्ति कविना सदृशः सहायः॥ वल्मीकजन्मा स कविः पुराणः कवीश्वरः सत्यवतीसुतश्च । यस्य प्रणेता तदिहानवयं सारखतं वर्म न कस्य वन्धम् ? ॥" "असभ्यार्थाभिधायित्वान्नोपदेष्टव्यं काव्यम्" इति च केचित् । यथा- "प्रसपन्यग्रीवै तभुवनकुक्षिझणझणा- करालः प्रागल्भ्यं वदति तरुणीनां प्रणयिषु । विलासव्यत्यासाजघनफलकास्फालनधन- स्फुटच्छेदोसिक्तः कलकनककाञ्चीकलकलः॥" अपि च-"नित्यं त्वयि प्रचुरचित्रकपत्रभङ्गी- ताटङ्कताड विपाण्डुरगण्डलेखाः। लिह्यन्तु रत्नरशनारणनाभिराम- कामार्तिनर्तितनितम्बतटास्तरुण्यः॥" "प्रक्रमापनो नियन्धनीय एवायमर्थः" इति यायावरीयः। तदिदं श्रुतौ शास्त्रे चोपलभ्यते । तत्र याजुषः- १ A तंकि. 10 20 25 ·२८ काव्यमीमांसायाम् 5 "यानिरुदूखलं शिश्नं मुसलं मिथुनमेवैतत् प्रजननं क्रियते ॥" आई:-"उपोप मे परामृश मा मे दभ्राणि मन्यथाः। सर्वाऽहमस्मि रोमशा गन्धाणामेवाविका ॥" शास्त्रीया-“यस्याः प्रसन्नधवलं चक्षुः पर्यन्तपक्ष्मलम् । नवनीतोपमं तस्या भवति स्मरमन्दिरम् ॥" पदवाक्यविवेकोऽयमिति किश्चित्वपश्चितः। अथ वाक्यप्रकारांश्च कश्चिदन्यान्निबोधत ॥ इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे षष्ठोऽध्यायः पदवाक्यविवेकः ।। 10 सप्तमोऽध्यायः पाठप्रतिष्ठा । वाक्यं वचन मिति व्यवहरन्ति । तच्च त्रिधा प्रणेतृभेदेन ब्राह्म, शैवं, वैष्णवमिति । तदिदं वायुप्रोक्तपुराणादिभ्य उपलब्धं यदुत ब्राझं वचः पञ्चधा खायम्भुवमैश्वरमार्षमार्षीकमार्षिपुत्रकं च [इति। स्वयम्भूमा तस्य स्वायम्भुवम् । बोजामादो भृगुप्रभृतयः पु- 18वास्ते ईश्वरास्तेषामैश्वरम् । ईश्वराणां सुता ऋषयस्तेषामार्षम् ।ऋषी- णामपत्यानि ऋषीका तेषामार्षीकम् । ऋषीकाणां सूनव ऋषिपुत्र- कास्तेषामार्षिपुत्रकम् । स्वयम्भुवः प्रथमं वचः श्रुतिः। श्रुतेरन्यच खायम्भुवम् । तदाहु:- "सर्वभूतात्मकं भूतं परिवादं च यद्भवेत् । चिनिरुक्तमोक्षार्थ वाक्यं स्वायम्भुवं हि तत् ॥" तदेव स्तोकरणान्तरपारणतमैश्वरं वचः। उक्तञ्च- "व्यक्तक्रममसंक्षिप्तं दीप्तगम्भीरमर्थवत् । प्रत्यक्षं च परोक्षं च लक्ष्यतामैश्वरं वचः॥" - 20 १B तत्ते जननं. २ B गान्धारिणा० ३ A omits च. ४ Aलिंग्यता..

·5 कविरहस्ये सप्तमोऽध्यायः । २९ आर्षम्-"यस्किश्चिन्मनसंयुक्तं युक्तं नामविभक्तिभिः । प्रत्यक्षाभिहितार्थ च तदृषीणां वचः स्मृतम् ॥" आर्षीकम्-"नैगमैर्विविधैः शब्दैर्निपातबहुलं च यत् । न चापि सुमहेद्वाक्यमृषीकाणां वचस्तु तत् ॥" आर्षिपुत्रकम-"अविस्पष्टपदप्रायं यच्च स्याबहुसंशयम् । ऋषिपुत्रवचस्तत्स्यात्ससर्वपारेदेवनर ॥" तदुताहणाने पुराणेभ्य उपलभेत । सारखताः कवयो नः पूर्वे इत्थङ्कारं कथयन्ति । ब्रह्मविष्णुरुद्रगु- हबृहस्पतिभार्गवादिशिष्येषु चतुःषष्टावुपर्दिष्टं वचः पारमेश्वरं क्रमेण च सञ्चरद्देवैर्देवयोनिभिश्च यथामत्युपजीव्यमानं दिव्यमिति 10 ०पसदेश्यते । देवयोनयस्तु- "विद्याधराप्सरोयक्षरक्षोगन्धर्व किन्नराः सिद्धगुह्यकभूताश्च पिशाचा देवयोनयः॥" तत्र पिशाचादयः शिवानुचराः खभूमौ संस्कृतवादिनो मर्ये तु भूतभाषया व्यवहरन्तो निबन्धनीयाः। अप्सरसस्तु प्राकृतभाषया । 15 तदिव्यं वचश्चतुर्दा वैवुधं वैद्याधरं गान्धर्व योगिनीगतं च [इति । शेषाणामेतेष्वेवोपलक्षणं प्रकृतिसादृश्येन । तत्र वैबुधम्- "समासव्याससंदृब्धं शृङ्गाराद्भुतसम्भृतम् । सानुप्रासमुदारं च वचः स्यादमृताशिनाम् ॥" यथा--"यचन्द्रकोटिकरकोरकभारभाजि बभ्राम बभ्रुणि जटाकुहरे हरस्य । तद्वः पुनातु हिमशैलशिलानिकुञ्ज- सात्कारडम्बरविरावि सुरापगाम्भः॥" वैद्याधरम्-"स्तोकानुप्राससच्छायं चतुरोक्ति प्रसादि च । द्राधीयसा समासेन विद्धि वैद्याधरं वचः॥" 20 25 १ A सुमहा०. २ A ऋषीणां हि. ३ B उपलभ्येत. ४B • वुद्दिष्टं.

·३० काव्यमीमांसायाम् 10 यथा-"प्रणतमुरकिरीटप्रांशुरत्नांशुवंश- च्छुरितनखशिखाग्रोद्भासमानारुणाङ्के । उदिततराणे न्दोदा धामोर्श्वनेत्र- जलनाने रदग्धानङ्गमूर्ते नमस्ते ॥" 5 यथा वा-"भ्रमति भ्रमरकरम्बितनन्दनवनचम्पकस्तबकगौरः। वात्याहत इव वियति स्फुटलक्ष्मा रोहिणीरमणः॥" गान्धर्वम्-"हखैः समासैर्भूयोभिर्विभूषितपदीच्चया। तत्त्वार्थग्रथनग्राह्या गन्धर्वाणां सरस्वती ॥" यथा-"नमः शिवाय सोमाय सगणाय ससूनवे । सवृषव्यालशूलाय सकपालाय सेन्दवे ॥" योगिनीगतम्-“समासरूपकमायं गम्भीरार्थपदक्रमम् । सिद्धान्तसमयस्थायि योगिनीनामिदं वचः॥" यथा-"दुःवेन्धनकदहनामृतवर्षमेघ संसारकूपपतनैककरावलम्ब । योगीन्द्रदर्पण जगद्गतकृत्लतेज:- प्रत्यक्षचौरवर वीरपते नमस्ते ॥” महाप्रभावत्वाद्भौजङ्गममपि दिव्यमित्युपचर्यते । "प्रसन्नमधुरोदात्तसमासव्यासभागवत् । अनोजविपदप्रायं वचो भवति भोगिनाम् ॥" यथा "सुसर्जि(जि)तां श्रोत्रसुखां सुरूपा- मनेकरत्नोज्वलचित्रिताङ्गीम् । विद्याधरेन्द्रः प्रतिगृह्य वीणां पिनाकिने गायति मङ्गलानि ॥" "किमर्थं पुनरनुपदेययोळलपारमेश्वरयोर्वाक्यमार्गयोरुपन्या- स?" इत्याचार्याः।"सोऽपि कवीनामुपदेशपरः" इति यायावरीयः। 15 20 १ Explained in A as समूह.

·कविरहस्ये सप्तमोऽध्यायः । ३१ 5 यतो नाटकादावीश्रादीनां देवानां च प्रवेशे तच्छायावन्ति वा- क्यानि विधेयानि । इति दिव्यम् इह हि प्रायोवादो यदुत मावतारव्यवहाररुचेभगवतो वासु- देवस्य वचो वैष्णवम् [इति । तन्मानुमिति र पदिशान्ति । तच्च त्रिधा रीतित्रयभेदेन । तदाहु:- "वैदर्भी गौडीया पाश्चाली चेति रीतयस्तिस्रः। आशु(सु) च साक्षान्निवसति सरस्वती तेन लक्ष्यन्ते ॥" रीतिरूपं वाक्यन्त्रितयम् । काकुः जर ति । "काकुर्व(व)को. क्तिर्नाम शब्दालङ्कारोऽयम्” इति रुद्रटः । “अभिप्रायवान्पाठधर्मः काकुः। स कथमलङ्कारी स्यात् ?" इति यायावरीयः। सा च द्विधा 10 साकाङ्क्षा निराकाङ्क्षा च । वाक्यान्तराकाङ्किणी साकाङ्का । वाक्यो- सरभाविनी निराकाङ्क्षा । तदेव वाक्यं काकुविशेषेण साकाम् । तदेव काकन्तरेण निराकाङ्कम् । आक्षेपगर्भा, प्रश्नगर्भा, वितर्कगर्भा चेति साकाङ्क्षा । विधिरूपा, उत्तररूपा, निर्णयरूपेति निराकाला। तत्राक्षेपगर्भा- “यदि मे वल्लभा दूती तदाऽहमपि वल्लभा । यदि तस्याः प्रिया वाचः तन्ममापि प्रियप्रियाः॥" एवमेव निर्देष्टुर्विधिरूपा । प्रश्नगर्भा- "गतः स कालो यत्रासीन्मुक्तानां जन्म वल्लिषु । वर्तन्ते साम्प्रतं तासां हेतवः शुक्तिसम्पुटाः॥" इयमेवोपदेष्टरुत्तररूपा । वितर्कगर्भा- "नवजलधरः सन्नद्धोऽयं न दृप्सनिशाचरः सुरधनुरिदं दूराकृष्टं न नाम शरासनम् । अयमपि पटुर्धारासारो न बाणपरम्परा कनकनिकषलिग्धा विद्युत्प्रिया न ममोर्वशी ॥" इयमेवोपदेष्टुनिर्णयरूपा । ता इमास्तिस्रोऽपि नियतनिबन्धाः। तद्विपरीताः पुनरनन्ताः । तत्राभ्युपगमानुनयकाकू- , 15 20 25 - ·10 : ३२ काव्यमीमांसायाम् "शुभमच्छासनलङ्घनाम्भसि मया मग्नेन नाम स्थितं प्राप्ता नाम विगर्हणा स्थितिमतां मध्येऽनुजाना। क्रोधोल्लासितशोणितारुणगदस्योच्छिन्दतः कौरवा- नयेक दिवसं ममासि न गुरुर्नाहं विधेयस्तव ॥" 5 अभ्यन होपहासका-"मनामि कौरवशतं समरे न कोपा- दुःशासनस्य रुधिरं न पियाम्युरस्तः । सञ्चूर्णयामि गदया न सुयोधनोरू सन्धि करोतु भवतां नृपतिः पणेन । एवं त्रिचतुरकाकुयोगोऽपि । तत्र त्रियोगः- "सेयं पश्यति नो कुरङ्गकवधूतस्तैवमुद्रीक्षते तस्याः पाणिरयं न मारुतवलत्पत्राङ्गुलिः पल्लवः। तारं रोदिति सैव नैष ममता वेणुः समापूर्यते सेयं मामभिभाषते प्रियतमा नो कोकिला कृजति ॥" चतुर्योगः-"उच्यतां स वचनीयमशेषं नेश्वरे परुषता सखि साध्वी । आनयनमननीय कथं वा विप्रियाणि जनयन्ननुनेयः॥" "सख्या वा नायिकाया वा सखीनायिकयोरथ । सखीनां भूयसीनां वा वाक्ये काकुरिह स्थिता ॥ पदवाक्य मार्गो योऽन्यथैव व्यवस्थितः। सत्वाङ्गाभिनयो(य)योत्या तं काकुः कुरुतेऽन्यथा ॥ अयं काकुकृतो लोके व्यवहारो न केवलम् । शास्त्रेष्वप्यस्य साम्राज्यं काव्यस्याप्येष जीवितम् ॥ कामं विवृणुते काकुरर्थान्तरमतन्द्रिता । स्फुटीकरोति तु सतां भावाभिनयचातुरीम् ॥ इत्थं कविर्निबध्नीयादित्थं च मतिमान्पठेत् । यथा निबन्धनिगदश्छायां काश्चिन्निषिञ्चति ।। 16 20 25 ·कविरहस्ये सप्तमोऽध्यायः। 5 10 करोति काव्यं प्रायेण संस्कृतात्मा यथा तथा । पठितुं वेत्ति स परं यस्य सिद्धा सरस्वती ॥ यथा जन्मान्त ाभ्यासात्कण्ठे कस्यापि रक्तता। तथैव पाठसौन्दर्य नैकजन्मविनिर्मितम् ॥ ससंस्कृतमपभ्रंशं लालित्यालिङ्गितं पठेत् । प्राकृतं भूतभाषां च सौष्ठवोत्तरमुद्गिरेत् ॥ प्रसन्ने मन्द्रयेद्वाचं तारयेत्तद्विरोधिनि । मन्द्रतारौ च रचयेन्निाहिणि यथोत्तरम् ।। ललितं काकुसमन्वितमुज्वलमर्थवशकृतपारच्छेदः । श्रुतिसुखविविक्तवर्ण कवयः पाठं प्रशंसन्ति ॥ अतिसूर्णमतिविलम्बितमुल्बणनादं च नावहीनं च । अपदच्छिन्नमनावृतमतिमृदु परुषं च निन्दन्ति ।। गम्भीरत्वमनैश्व(ष्ट्रय नियूंढिस्तारमन्द्रयोः । संयुक्तवर्णलावण्यमिति पाठगुणाः स्मृताः ।। यथा व्याधी हरेत्पुत्रान्दंष्ट्राभिश्च न पीडयेत् । भीता पतनभेदाभ्यां तद्वदर्णान्प्रयोजयेत् ॥ विभक्तयः स्फुटा यत्र समासश्चाकदर्थितः। अम्लानः पदसन्धिश्च तत्र पाठः प्रतिष्ठितः न व्यस्तपदयोरैक्यं न भिदां तु समस्तयोः। न चाख्यातपदम्लानिं विदधीत सुधीः पठन् । आगोपालकमायोषिदास्तामेतस्य लेह्यता। इत्थं कविः पठन्काव्यं वाग्देव्या अतिवल्लभः॥ येऽपि शब्दविदो नैव नैव चार्थविचक्षणाः। तेषामपि सतां पाठः सुष्टु कर्णरसायनम् ॥ पठन्ति संस्कृतं सुष्ठ कुण्ठाः प्राकृतवाचि ते । वाणार(राण)सीतः पूर्वेण ये केचिन्मगधादयः॥" आह स्म-"ब्रह्मन्विज्ञापयामि त्वां स्वाधिकारजिहासया। गौडस्त्यजतु वा गाथामन्या वाऽस्तु सरस्वती । १C गम्भीरत्वमवैवर्य. 15 20 25 ·20 काव्यमीमांसायाम् : 10 नाति पष्टा न चाश्लिष्टो न रूक्षो नातिकोमलः। न मन्द्रो नातितारश्च पाठी(ठो) गौडेषु वाडवः॥ रसः कोऽप्यस्तु काप्यस्तु रीतिः कोऽप्यस्तु वा गुणः । सगर्व सर्वकर्णाटाष्टंकारोत्तरपाठिनः॥ गये पद्येऽथवा मिश्रे काव्ये काव्यमना अपि । गेयगर्भ स्थितः पाठे सर्वोऽपि द्रविडः कविः॥ पठन्ति लभं लाटाः प्राकृतं संस्कृतद्विषः। जिह्वया ललितोल्लापलब्धसौन्दर्यमुद्रया ।। सुराष्ट्रनवणाद्या ये पठन्त्यर्पितसौष्ठवम् । अपभ्रंशावदंशानि ते संस्कृतवचांस्यपि ॥ शारदायाः प्रसादेन काश्मीरः सुकविर्जनः। कर्णे गुडूचोरण्डूषस्तेषां पाठक्रमः किमु ! ॥ ततः पुरस्तात्कवयो ये भवन्त्युत्तरापथे। ते महत्यपि संस्कारे सानुनासिकपाठिनः ।। मार्गानुगेन निनदेन निधिर्गुणानां सम्पूर्णवर्णरचनो यतिभिर्विभक्तः। पाञ्चालमण्डलभुवां मुभगः कवीनां श्रोत्रे मधु क्षरति किञ्चन काव्यपाठः ॥ ललल्लकारया जिलं जर्जरस्फाररेफया। गिरा भुजङ्गाः पूज्यन्ते काव्यभव्यधियो न तु॥ पश्चस्थानसमुद्भववर्णेषु यथा स्वरूपनिष्पत्तिः। अर्थवशेन च विरतिः सर्वस्वमिदं हि पाठस्य ॥" सकाकुकलना पाठप्रतिष्ठेयं प्रेदर्शिता। अर्थानुशासनस्याथ प्रकारः परिकर्यते ॥ इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे सप्तमोऽध्यायः वाक्यविशेषाः काकुकलना पाठप्रतिष्ठा च ॥ 15 20 25 १B लटस, २ A तिष्ठिता.

·कविरहस्ये अष्टमोऽध्यायः । 10 अष्टमोऽध्यायः काव्यार्थयोनयः । "श्रुतिः, स्मृतिः, इतिहासः, पुराणं, प्रमाणविद्या, समयावेचा, राजासद्धान्तत्रयी, लोको, विरचना, प्रकीर्णकं च काव्यार्थानां द्वादश योनयः” इत्याचार्याः । “उचितसंयोगेन, योत्तृसंयोगेन, उत्पाययोगेन, संयोगविकारेण च सह षोडश” इति यायाव यः। B तत्र श्रोतः। "उर्वशी हाप्सराः पुरूरवसमैडं चकमे”। अत्रार्थे- "चन्द्रादुधः समभवद्भगवान्नरेन्द्र- माद्यं पुरूरवसमैडमसावसूत । तं चाप्सराः स्मरवती चकमे किमन्य- दत्रोर्वशी स्मितवशीकृताः॥" यथा वा-"यदेतन्मण्डलं तपति तन्महदुक्थं ता ऋचःस ऋचा लोकोऽथ यदेतदर्चिर्दीप्यते तन्महाव्रतं तानि सामानि स सानां लोकोऽथ य एष तस्मिन्मण्डले पुरुषः सोऽग्निस्तानि यजूंषि स यजुषा लोकः सैषा त्रय्येव विद्या तपति ।” अत्रार्थ-"एतन्मण्डलं खे तपति दिनकृतस्ता ऋचोऽचींषि यानि। द्योतन्ते तानि सामान्ययमपि पुरुषो मण्डलेऽणुर्यजूंषि । एवं यं वेद वेदत्रितयमयमयं वेदवेदी समग्रो वर्ग:स्वर्गापवर्गप्रकृतिरविकृतिःसोऽस्तु सूर्यः श्रियेव॥" तचेदं बेदहरणम् । यदित्थं कथयन्ति- "नमोऽस्तु तस्यै श्रुतये यां दुहन्ति पदे पदे । ऋषयः शास्त्रकाराश्च कवयश्च यथामति ॥" मातः-"बह्वर्थेष्वभियुक्तेन सर्वत्र व्यपलापिना । विभावितैकदेशेन देयं यदभियुज्यते ॥" अबार्थे-"हंस प्रयच्छ मे कान्तां गतिस्तस्यास्त्वया हता। सम्भावितैकदेशेन देयं यदभियुज्यते ॥" १ Bप्रमाणं. २ A मैल. ३ B प्रपलायिना. ४ सम्भावितैक०. 20 28 ·काव्यमीमांसायाम् 10 ऐति तासिक:-"न स सङ्कुचितः पन्था येन वाली हतो गतः। समये तिष्ठ सुग्रीव मा वालिपथमन्वगाः॥" अत्र-"मदं नवैश्वर्यलवेन लम्भितं विसृज्य पूर्वः समयो विमृश्यताम् । जगजित्सातुरकण्ठपद्धति- ने वालिनैवाहिततृप्तिरन्तकः॥" पौराणिकः-"हिरण्यकशिपुदैत्यो यां यां स्मित्वाऽप्युदैक्षत । भयभ्रान्तः सुरैश्चक्रे तस्य तस्यै दिशे नमः॥" अन-"स सञ्चरिष्णुर्भुवनत्रयेऽपि यां यदृच्छयाऽशिश्रियदाश्रयः श्रियः। अकारि तस्यै मुकुटोपलस्खलत्- करैस्त्रिसन्ध्यं त्रिदशैर्दिशे नमः॥" अत्राहु:-"श्रुतीनां साङ्गशाखानामितिहासपुराणयोः। अर्थग्रन्थः कथाभ्यासः कवित्वस्यैकमौषधम् ।। इतिहासपुराणाभ्यां चक्षुामिव सत्कविः । विवेकाञ्चनशुद्धाभ्यां सूक्ष्ममप्यर्थमीक्षते ॥ वेदार्थस्य निबन्धेन श्लाध्यन्ते कवयो यथा । स्मृतीनाम तिहासस्य पुराणस्य तथा तथा ॥" विविधःप्रामाणिको मैमासिकस्तार्किकश्च । तत्र प्रथमः । शब्दस्य 20 सामान्यमभिधेयं विशेषश्चार्थः। अत्र- "सामान्यवाचि पदमप्यभिधीयमानं मां प्राप्य जातमभिधेयविशेषनिष्ठम् । स्त्री कचिदित्याभहिते सततं मनो मे तामेव वामनयनां विषयीकरोति ॥" 15 ४ B भुवनान्तरेषु 1Bजिपित्सा.. २ A हत. ३० त्रिसम्ध्यं त्रिदिशे नमः ५ B तदाहुः. तदाहुः. ६ B श्लार्धते.

·5 10 कविरहस्ये अष्टमोऽध्यायः। तर्केषु सामयीय:-"नासतो विद्यते भावो नाभावो विद्यते सतः। उभयोरपि दृष्टोऽन्तस्त्वनयोस्तत्त्वदृष्टिभिः॥" अत्र-“य एते यज्वानः प्रथितमहसो येऽप्यवनिपा मृगाक्ष्यो याश्चैताः कृतमपरसंसारकथया । अमी ये दृश्यन्ते फलकुसुमनम्राश्च तरवो जगत्येवंरूपा विलसति मृदेषा भगवती॥" न्यायवैशेषिकीयः-स किंसामग्रीक ईश्वरः कर्ता ? इति पूर्व- क्षः। निरतिशयैश्वर्यस्य तस्य कर्तृत्वमिति सिद्धान्तः । अत्र- "किमीहः किंकायः स खलु किमुपायस्त्रिभुवन किमाधारो धाता सृजति किमुपादान इति च । अतक्र्यैश्वर्यं त्वय्यनवसरदुःस्थो हतधियः कुतर्कोऽयं कांश्चिन्मुखरयति मोहाय जगतः ॥" बौद्धीयः-विवक्षापूर्वा हि शब्दास्तामेव विवक्षां सूचयेयुः । अत्र- "भवतु विदितं शब्दा वक्तुर्विवक्षितसूचकाः स्मरवति यतः कान्ते कान्तां बलात्परिचुम्बति । न न न म म मा मा मां स्पाक्षीनिषेधपरं वचो भवति शिथिले मानग्रन्थौ तदेव विधायकम् ॥" लोकायतिकः-भूतेभ्यश्चैतन्यं मदशक्तिवत् । अत्र- "बहुविधमिह साक्षिचिन्तकाः प्रवदन्यातः कलेवरात् । अपि सं सुदति ते च चिन्तकाः प्रलयं यान्ति सहेच चिन्तया ॥" आहेत:-शरीरपरिमाण आत्मा । अन्यथा शरीराफल्यमात्मा- 15 - .. 20 फल्यं वा। 25 १ A °दर्शिभिः. २ B •दितः. ३C च. ४ B स.

·5 10 काव्यमीमांसायाम् अत्र-"गरीरमात्रमात्मानं ये वदन्ति जयन्ति ते। तचुम्बनेऽपि यजातः सर्वाङ्गपुलकोऽस्य मे ॥" सर्वपार्षदत्वात्काव्यविद्यायाः तानिमानन्यांश्चान्व्युत्पत्तये प्रत्यवेक्षेत । आहुश्च- "यांस्तर्ककर्कशानान्सूक्तिष्वाद्रियते कविः । सूर्यांशव इवेन्दौ ते काश्चिदर्च(च)न्ति कान्तताम् ॥" समयविद्यासु शैवसिद्धान्तीयः- "घोरधोरत्रातीतब्रह्मविद्याकलातिगः। परापरपदव्यापी पायाद्वः परमेश्वरः॥" पाञ्चरात्रः-"नाद्यन्तवन्तः कवयः पुराणाः सूक्ष्मा बृहन्तोऽप्यनुशासितारः। सर्वज्वरान्नन्तु ममानिरुद्ध- प्रद्युम्नसङ्कर्षणवासुदेवाः॥" धौद्धसिद्धान्तीयः-"कलिकलुषकृतानि यानि लोके मयि निपतन्तु विमुच्यतां स लोकः। - मम हि सुचरितेन सर्वसत्त्वाः परमसुखेन सुखावनी प्रयान्तु ॥" एवं सिद्धान्तान्तरेष्वपि । राजसिद्धान्तत्रय्यामर्थशास्त्रीय:- "शमव्यायामाभ्यां प्रतिविहिततत्रस्य नृपतेः परं प्रत्यावापः फलति कृतसेकस्तरुरिव । नहुव्याजं राज्यं न सुकरमराजप्रणिधिभि- दुराराधा लक्ष्मीरनवत्तिचित्तं छलयति ॥" प्रत्यगातार:-"एवं धारय देवि बाहुलतिकामेवं कुरुष्वाङ्गकं मात्युच्चैनम कुश्चयाग्रचरणं मां पश्य तावात्स्यतः । देवी नर्तयतः स्खवक्रमुरजेनाम्भोधरध्वानिना शम्भोर्वः परिपान्तु लम्बितलयच्छेदाहतास्तालिकाः॥" १ A विदन्ति. १ A तच्चासदपि. ३C मात्युचैर्न च. 15 20 25 ·कविरहस्से अष्टमोऽध्यायः । ३९ 5 कामसूत्राय:-"नाश्चर्य त्वयि यल्लक्ष्मीः क्षित्वाऽधोक्षजमागता। असौ मन्दरतस्त्वं तु प्राप्तः समरतस्तया ॥" लौकिकस्तु द्विधा प्राकृतो व्युत्पन्नश्च । तयोः प्रथमः- "स्फुटितपिठरीबन्धश्लाघ्यो विपक्षगृहेऽप्यभूत् प्रियतम ययोः स्लेहग्रन्थिस्तथा प्रथमं स नौ। जनवदधुना समन्यावां वसाव इहैव तौ धिगपरिचितं प्रेम स्त्रीणां चिराय च जीवितम् ॥" यथा वा-"इक्षुदण्डस्य मण्डस्य दन्नः पिष्टकृतस्य च । वाराहस्य च मांसस्य सैष गच्छति फाल्गुनः॥" द्वितीय द्विधा समस्तजनजन्यः कतिपयजनजन्यश्च । तयोः प्रथ-10 मोऽनेकधा देशानां बहुत्वात् । तत्र दाक्षिणात्यः "पियन्त्यास्वाद्य मरिचं ताम्बूलविशदैमुखैः । प्रियाधरावदंशानि मधूनि द्रमिलाङ्गनाः॥" यथा वा-"विरम मदन कस्त्वं चैत्र का शक्तिरिन्दो- रिह हि कुसुमबाणाः कुण्ठिताग्राः स्वलन्ति । हृदयभुव इमास्ताः कुन्तलप्रेयसीनां प्रहति किणकठोरग्रन्थयो वज्रसाराः॥" उदीच्यः-"नेपाल्यो वल्लभैः सार्द्धमानॆणमदमण्डनाः। ग्रन्धिपर्णकपालीषु नयन्ति ग्रीष्मयामिनीः॥" द्वितीयः-"मिथ्यामीलदरालपक्ष्मणि वलत्यन्तः कुरङ्गीहशो दीर्घापासरित्तरङ्गतरले तल्पोन्मुखं चक्षुषि । पत्युः केलिमतः कथां विरमयन्नन्योन्यकण्डूयनात् कोऽयं व्याहरतीत्युदीर्य निरगात्सव्याजमालीजनः॥" कविमनीषानिर्मितं कथातनमर्थमानं वा विरचना । तत्राद्या- "अस्ति चित्रशिखो नाम खङ्गविद्याधराधिपः । दक्षिणे मलयोत्सङ्गे रत्नवत्याः पुरः पतिः॥ 15 20 - 25 १B द्रविडांगना. २ A ग्रंथिमिर्वज्रसारा. ३ B रत्नावत्याः.

·काव्यमीमांसायाम् 5 10 तस्य रत्नाकरसुता श्रियो देव्याः सहोदरी । खयंव विधापासीत्कलत्रं चित्रसुन्दरी ॥" द्वितीया-"ज्योत्ला लिम्पति चन्दनेन स पुमान्सिश्चत्यसौ मालती- मालां गन्धजलैर्मधूनि कुरुते स्वादून्यसौ फाणितैः। यस्तस्य प्रथितान्गुणान्प्रथयति श्रीवीरचूडामणे: तारत्वं स च शाणया मृगयते मुक्ताफलानामपि ॥" अत्राहु:-"नीचैर्नार्थ कथासर्गे(गो) यस्य न प्रतिभाक्षयः। स कविग्रामणीरत्रं शेषास्तस्य कुटुम्बिनः॥" अभिहितेभ्यो यदन्यत्तत्प्रकीर्णकम् । तत्र हस्तिशिक्षीयः- "मेघानां क्षणहासतामुपगतो हारः प्रकीर्णो दिशा- माकाशोल्लसितामितामरवधूपीनस्तनास्फालकः। क्षुण्णश्चन्द्र इवोल्बणो मदवशादरावणप्रेरितः पायावः परिपाकपाण्डुललीश्रीतस्करः शीकरः॥" रत्नपरीक्षीयः-"द्वौ वज्रवर्णी जगतीपतीनां सद्भिः प्रदिष्टौ न तु सार्वजन्यौ । यः स्याजपाविद्रुमभङ्गशोणो यो वा हरिद्वारससंनिकाशः॥" धनुर्वेदीयः-"स दक्षिणापाङ्गनिविष्टमुष्टिं नतांसमाकुञ्चितसव्यपादम् । ददर्श चक्रीकृतचारुचापं प्रहर्तुमभ्युद्यतमात्मयोनिम् ॥" योगशास्त्रीयः-"यः सर्वेषां हृदयकमले प्राणिनामेकहंस- स्त्वं जागर्षि स्वपिषि च मुहुर्बुध्यसे नापि बुद्धः। तं त्वाराध्य सवलतधियो बन्धभेदं विधाय ध्वस्तातङ्का विमलमहसस्ते भवन्तो भवन्ति ॥" १ A नार्थ. २ B •स्त्वत्र, ३ B मराधिपवधू. ४ A B लवलश्री०. 15 20 25 ·अष्ठमोऽध्यायः 5 10 एवं प्रकीर्णकान आन्त माप । उचितसंयोगः "पाण्ड्योऽयमंसार्पितलम्बारः कृप्ताङ्गरागो हरिचन्दनेन । आभाति बालातपरक्तसानुः सनिझरोद्गार इवाद्रिराजः॥" योत्कृसंयोगः-"कुर्वद्भिः सुरदन्तिनो मधुलिहामस्वादु दानोदकं तन्वीनैनमुचिट्ठहो भगवतश्चक्षुःसहस्रव्यथाम् । मजन्वर्गतरङ्गिणीजलभरे पङ्कीकृते पांसुभि- यद्यानाव्यसनं निनिन्द विमनाः खोकनारीजनः॥" उत्पायसंयोगः-"उभौ यदि व्योनि पृथक्प्रवाहा वाकाशगङ्गापयसः पतेताम् । तेनोपमीयेत तमालनील- मामुक्तमुक्तालतमस्य वक्षः॥" संयोगविकार:-"गुणानुरागमिश्रेण यशसा तव सर्पता । दिग्वधूनां मुखे जातमकस्मादर्द्धकुङ्कुमम् ॥ यथा वा-"उन्माद्यस्यम्बुराशिर्विदलति कुमुदं सङ्कुचन्त्यम्बुजानि स्यन्दन्ते चन्द्रकान्ताः पतितसुमनसः सन्ति शेफालिकाश्च । पीयन्ते चन्द्रिकाम्भः क्रमसरलगलं किं च किञ्चिच्चकोरा- श्चन्द्रे कर्पूरगौरातिभृति नभसो याति चूडामणित्वम् ॥" इदं कविभ्यः कथितमर्थोत्पत्तिपरायणम् । इह प्रगल्भमानस्य न जात्वर्थकदर्थना ॥ इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे अर्थानुशासने षोडश काव्यार्थयोनयः अष्टमोऽध्यायः ।। 15 20 ·5 . काल्यालयाम् नवमोऽध्यायः अर्थव्याप्तिः । "स निधा" इति द्रौहिणि, दिव्यो, दिव्यमा. षो, मानुषश्च । "सप्तधा' इति यायावरीया, पातालीयो, यतादीयो, दिव्य- पातालायो, दिव्यमर्त्यपातालीयश्च । तत्र दिव्या- "स्मृत्वा निजवारवासगतया वीणासमं तुम्बुरो- रुगीतं नलकूबरस्य विरहादुत्कश्शुलं रम्भया । तेनैरावणकर्णचापलमुषा शक्रोऽपि निद्रां जह- द्भूयः कारित एव हासिनि शचीवके दृशां सम्भ्रमम् ॥" दिव्यमानुषस्तु चतुर्दा । दिव्यस्य मांगमने, मर्त्यस्य च स्वर्ग- 10गमन इत्येको भेदः। दिव्यस्य मर्त्यभावे, मर्त्यस्य च दिव्यभाव इति द्वितीयः। दिव्येतिवृत्तपरिकल्पनया तृतीयः। प्रभावाविर्भूतदिव्य- रूपतया चतुर्थः । तत्र दिव्यस्य मांगमना "श्रियः पतिः श्रीमति शासितुं जग- जगन्निवासो वसुदेवसद्मनि । वसन्ददर्शावतरन्तमम्बरा- द्धिरण्यगर्भाङ्गभुवं मुनिं हरिः॥" मर्यस्य स्वर्गगमनम्- "पाण्डोनन्दन नन्दनं वनमिदं सङ्कल्पजैः सीधुभिः कृप्तापानककेलि कल्पतरुषु द्वन्द्वैः सुधालेहिनाम् । अप्यनेन्दुशिलालवालवलयं सन्तानकानां तले ज्योत्स्नासङ्गलदच्छनिसरजलैयनं विना पूर्यते ।" दिव्यस्य मर्त्यभावः-"इति विकसति तस्मिन्नन्ववाये यदूना समजनि वसुदेवो देवकी यत्कलत्रम् । किमपरमथ तस्मात्षोडशस्त्रास.स- प्रणितिपरिरम्भः पद्मनाभो बभूव ॥" - 15 20 25 १VA कण्ठुलं, V B कण्ठलं. २ A जनं. ३ A पूर्जते.

·नवमोऽध्यायः। - 10 मर्त्यस्य दिव्यभावः- "आकाशयानतटकोटिकृतैकपादा- स्तद्धेमदण्डयुगलान्यवलम्ब्य हस्तैः । कौतूहलात्तव तरङ्गविघहितानि पश्यन्ति देवि मनुजाः खकलेवराणि ॥" दिव्येति त्तपरिकल्पना- "ज्योत्स्नापूरप्रसरविशदे सकतेऽस्मिन्सरवा वाद्यूतं चिरतरमभूत्सिद्धयूनोः कयोश्चित् । एको ब्रूते प्रथमनिहतं कैटभं कंसमन्यः स त्वं तत्त्वं कथय भवता को हतस्तत्र पूर्वम् ॥" प्रभावाविर्भूतदिव्यभावः "मा गाः पातालमुर्वि स्फुरसि किमपरं पाट्यमानः कुदैत्य त्रैलोक्यं पादपीतप्रथिम नहि बले पूरयस्यूनमोः । इत्युत्खमायमाने भुवनभृति शिशावङ्कसुते यशोदा पायाचक्रापादप्रणतिपुलकितस्मेरगण्डस्थला वः॥" मर्त्यः-"वधूः श्वश्रूस्थाने व्यवहरति पुत्रः पितृपदे पदे रिक्ते रिक्त विनिहितपदार्थान्तरमिति । नदीस्रोतोन्यायादकलितविवेकक्रमघनं न च प्रत्यावृत्तिः प्रवहति जगत्पूर्णमथ च॥" पातालीय:- "कर्कोटः कोटिकृत्वः प्रणमति पुरतस्तक्षके देहि चक्षु: सज्जः सेवाञ्जलिस्ते कपिलकुलिकयोः स्तौति च स्वस्तिकस्त्वाम् । पद्मः सौष भक्तेरवलगति पुरः कम्बलोऽयं बलोऽयं सोत्सर्पः सर्पराजो व्रजतु निजगृहं प्रेष्यतां शङ्खपालः ॥" मत्यपाताचीय:-"आर्द्रावले वजन वेत्स्यपकर्ण कर्ण द्विः सन्दधाति न शरं हरांशष्यशिष्यः। तत्साम्प्रतं समिति पश्य कुतूहलेन मत्यैः शरैरपि किरीटिकिरीटमार्थम् ॥" VA देव. २ B मूर्ध्नि. ३ A कोटिकुण्ठः. ४ A नाथम्. 15 20 25 ·काव्यमीमांसायाम् 5 10 इहापि पूर्ववत्समस्तमिश्रभेदानुगमः। दिव्यपातालोय:- "स पातु वो यस्य शिखाइमकर्णिक खदेहनालं फणपत्रसञ्चयम् । विभाति जिह्वायुगलोलकेसरं पिनाकिनः कर्णभुजङ्गप:जम् ॥" स्वर्गमर्यपातालीयः-- "आस्तीकोऽस्ति मुनिः स्म विस्मयकृतः पारीक्षितीयान्मखा- अाता तक्षकलक्ष्मणः फणभृतां वंशस्य शक्रस्य च । उद्वेल्लन्मलयाद्रिचन्दनलताखान्दोलनप्रक्रमे रस्य चापि सविभ्रमं फणिवधूवृन्दैर्यशो गीयते ॥" सोऽयमित्थङ्कारमुल्लिख्योपजीव्यमानो निःसीमाऽर्थसार्थः सम्प- द्यते । “अस्तु नाम निःसीमाऽर्थसार्थः । किन्तु द्विरूप एवासौ विचा- रितसुस्थोऽविचारितरमणीयश्च [इति । तयोः पूर्वमाश्रितानि शा. स्त्राणि तदुत्तरं काव्यानि" इत्यौद्भटाः । यथा- "अपां लङ्घयितुं राशिं रुचा पिञ्जरयन्नभः । खमुत्पपांत हनुमान्नीलोत्पलदलद्युति ॥" यथा वा-"त आकाशमसिश्याममुत्पत्य परमर्षयः । आसेदुरोषधिप्रस्थं मनसा समरंहसः॥" यथा च-"तदेव वारि सिन्धूनां महत्स्थेमार्चिषामिति" इत्यादि । "न स्वरू' निबन्धनमिदं रूपमाENETर सरित्साललाई किन्तु प्रतिभासनिबन्धनम् । न च प्रतिभासस्तादात्म्येन वह न्यवतिष्ठते । यदि तथा स्यात्सूर्याचन्द्रमसोमण्डले दृष्ट्या परिछि मानद्वादशा- लप्रमाणे पुराणाधागमनिवेदितधरावलयमात्रे न स्तः" इति यायाव- रीयः। एवं नक्षत्रादीनां सरित्सलिलादीनामन्येषां च । यथाप्रतिभासं 25 च वस्तुनः स्वरूपं शास्त्रकाव्ययोर्निबन्धोपयोगि । शास्त्र यथा- २ V खन्दोलन. ३ C मुल्लेख्योपजीव्यमानो. ४ B द्युतिः. ५ C दृष्ट्यपरिच्छिद्यमान. 15 20 १ A अस्तीको.

·नवमोऽध्यायः। Cl "प्रशान्तजलभृत्पङ्क विमले वियदम्भसि । ताराकुमुदसम्बन्धे हंसायत इवोडुराट् ॥" काव्यानि पुनरेतन्मयान्येव । “अस्तु नाम निःसीमाऽर्थसार्थः। किन्तु रसवत एव निवन्धो युक्तो न •iaR" इत्यापराजितिः। यदाह- "मजनपुष्पावचयनसन्ध्याचन्द्रोदयादिवाक्यमिह । स समपि नातिबहुलं प्रकृतरसानन्वितं रचयेत् ॥ यस्तु सरिदद्रिसागरपुरतरगरथादिवर्णने यत्नः। काविशाक्तख्यातिफलो, विततधियां नो मतः स इह ॥" 'आम्' इति यायावरीयः। अस्ति चानुभूयमानो रसस्यानुगुणो10 विगुणवार्थः, काव्ये तु कविवचनानिरसयन्ति विरसयन्ति च नार्थाः। अन्धयव्यतिरेकाभ्यां चेदमुपलभ्यते । तत्र सरिद्वर्णनरसवत्ता- "एतां विलोकय तनर्देरि ताम्रपणी- मम्मोनिधौ विवृतशुक्तिपुटोद्धृतानि । यस्याः पयांसि परिणाहिषु हारमूर्त्या वामझुवां परिणमन्ति पयोधरेषु ॥" अद्रिवर्णनरसवत्ता- "एतास्ता मलयोपकण्ठसरितामेणाक्षि रोधोभुव- श्वोपाभ्यासनिकेतनं भगवतः प्रेयो मनोजन्मनः। यासु मागास पीततमसो मुक्तामयीश्चन्द्रिकाः पीयन्ते विवृतोर्वचञ्च विचलत्कण्ठं चकोराङ्गनाः॥" साग वर्णनरसवत्ता- “धत्ते यत्किलनिश्चितैकगुरुतामणीदृशां वारुणी वैधुर्य विद्धाति दम्पतिरुषां यच्चन्द्रिका नमः। यच्च स्वर्गसदां वयः स्मरसुहृन्नित्यं सदा सम्पदा यल्लक्ष्मीरधिदैवतं च जलधेस्तत्कान्तमाचेष्टितम् ॥" २ Bomits तु. ३ B omits विरसयन्ति and reads न चार्थाः ४ A तलोदरि. ५ B श्छाया. 15 20 25 १ Bथप.

·काव्यमीमांसायाम् 5 एवं पुरतुरगादिवर्णनरसवत्तापि । विप्रलम्भेऽप्यात सवत्ता- "विधर्माणो भावास्तदुपहितवृत्तेर्न धृतये सरूपत्वादन्ये विहितविफलौत्सुक्यावरसाः। ततः खेच्छ(स्त्वित्थं) पूर्वेषेवरसमितरेभ्यः प्रति क हीनं प्रेयस्या हृदयमिदमन्यत्र रमताम् ॥" कुकावेर्दिपलम्भेऽपि रसवत्तां निरस्यति । अस्तु वस्तुषु मा वा भूत्कविवाचि रसः स्थितः॥ "यथा तथा वास्तु वस्तुनो रूपं, वक्तृप्रकृतिविशेषायत्ता तु रस- वत्ता। तथा च यमर्थ रक्तः स्तौति तं विरक्तो विनिन्दति । मध्यस्थस्तु 10 तत्रोदास्ते" इति पाल्यकीर्तिः। "येषां वल्लभया समं क्षणमिव स्फारा क्षपा क्षीयते तेषां शीततरः शशी विरहिणामुल्केव सन्तापकृर । अस्माकं न तु वल्लभा न रहस्तेनोभयभ्रंशिना- मिन्द राजति दर्पणाकृतिरयं नोष्णो न वा शीतलः॥" 15 "विदग्धभणितिभङ्गिनिवेचं वस्तुनो रूपं न नियतलवम् इत्ययन्तिसुन्दरी । तदाह- "वस्तुखभावोऽत्र कवेरतन गुणागुणावुक्तिवशेन काव्ये । स्तुवन्निषनात्यमृतांशुमिन्दु निन्दंस्तु दोषाकरमाह धूर्तः॥" "उभयमुपपन्नम्" इति यायावरीयः। स पुनर्द्विधा । मुक्तकप्रबन्धविषयत्वेन । तावपि प्रत्येकं पश्चधा। शुद्धः, चित्रा, कथोत्था, संविधानकभूः, याश्च [इति । तत्र मुक्तेतिवृत्तः शुद्धः। स एव सप्रपञ्चश्चित्रः। वृत्ततित्तः क- थोत्थः। सम्भावितेतिवृत्तः संविधानकभूः । परिकल्पितेति त आख्यानकवान् । तत्र- 20 , १ Bहत. २ A पूर्वेष्वसजदितरेभ्यः. ३ B राजत. ४ BC.तो.

·नवमोऽध्यायः ।
10
मुक्तके-शुद्धः-“सा पत्युः प्रथरापराधकरण शिक्षोपदेशं विना
नो जानाति सविभ्रमानवलनावक्रोक्तिचित्रां गतिम् ।
खच्छरच्छकपोलभित्तिगलितः पर्यस्तनेत्रोत्पला
बाला केवलमेव रोदिति लुठल्लोलोदकैरश्रुभिः॥"
चित्र:-"दूरादुत्सुकमागते विवलितं सम्भाषिणि स्फारितं
संश्लिष्यत्यरुणं गृहातवसने कोपाश्चितभूलतम् ।
नामदेयाश्चरान तिव्यातेको बाष्पाम्बुपूर्ण क्षणा-
चक्षुर्जातमहो प्रपञ्चचतुरं जातागसि प्रेयसि ॥"
कथोत्थ:-"वत्त्वा रुद्धगतिः खसाधिपतये देवीं ध्रुवस्वामिनी
यस्मात्खण्डितसाहसो निववृते श्रीशर्मगुप्तो नृपः।
तस्मिन्नेव हिमालये गुरुगुहाकोणकणकिन्नरे
गीयन्ते तव कार्तिकेयनगरस्त्रीणां गणैः कीर्तयः॥"
संविधानकभू:-
"दृष्ट्वैकासनसंस्थिते प्रियतमे पश्चादुपेत्यादरा-
देकस्या नयने निमील्य विहितक्रीडानुबन्धच्छल ।
ईषद्धक्रितकन्धरः सपुलकः प्रेमोल्लसन्मानसा-
मन्तांसवलत्कपोलफलकां धूर्तोऽपरां चुम्बति ॥"
यथा च-"कुर्वत्या कुङ्कुमाम्भःकपिशितवपुष यत्तदा राजहंसी
क्रीडाहंसो मयाऽसावजनि विरहितश्चक्रवाकीभ्रमेण ।
तस्यैतत्पाप्मनो मे परिणमति फलं यत्पुरे प्रेमबन्धा-
देकत्रावां वसावो न च दयित दृशाऽप्यस्ति नौ सन्निकर्षः॥"
आख्यानकषा-
"अर्थिजनार्थधृतानां वनकरिणां प्रथमकल्पितैर्दशनैः।
चक्रे परोपकारी हैहयजन्मा गृहं शम्भोः॥"
15
20
१B भच्छे. २ B र्यात. ३ A श्रीसेनगुप्तो. ४ B संगते. ५ B आख्यानवान्.

·काव्यमीमांसायाम् 10 निवन्ध(न्धे)शुद्धः-"स्तिमिताहिकसितानामुलसालतानां मसृणमुकुलितानां प्रान्तविस्तारभाजाम् । प्रतिनयननिपाते किञ्चिदाकुञ्चितानां सुचिरमहमभूवं पात्रमालोकताना" चित्र:--"अलसवलितमुग्धलिग्धानेमन्दम रधिकविकसदन्तर्विस्मयस्मरतारैः। हृदयमशरणं मे पक्ष्मलाक्ष्याः कटाक्ष- रपहृतमपविद्धं पीतमुन्मूलितं च ॥" कथोत्थः-"अभिलाषमुदीरितोन्दर: खसुतायामकरोल्गजापतिः। अथ तेन निगृह्य विक्रिया. मभिशप्तः फलमेतदन्वभूत् ॥" संविधानकभूः-"क्रोधं प्रभो संहर संहरेति यावद्गिरः खे मरुतां चरन्ति । तावत्स वहिर्भवनेत्रजन्मा भस्मावशेष मदनं चकार ॥" आख्यानकवान्-"पत्युः शिरश्चन्द्रकलामनेन स्पृशेति सख्या परिहासपूर्वम् । सा रञ्जयित्वा चरणौ कृताशी- मौल्येन तां निर्वचनं जघान ॥" किश्च संस्कृतवत्सर्वाखपि भाषासु यथासामर्थ्य यथारुचि यथा. कौतुकं चावहितः स्यात् । शब्दार्थयोश्चाभिधानाभिधेयव्यापा. प्रगुणतामवबुध्येत । तदुक्तम्- एकोऽर्थः संस्कृतोतया ससुकविरचनः प्राकृतेनापरोऽस्मि- अन्योऽपभ्रंशगीर्भिः किमपरमपरो भूतभागक्रमण । १ A संविधानभूः. २ B आख्यानवान्, 15 20 25 ·कविरहस्ये दशमोऽध्यायः । ४९ द्वित्राभिः कोऽपि वाग्भिर्भवति चतसृभिः किञ्च कश्चिद्विवेत्तुं यस्येत्थं धीः प्रगल्भा लपयति सुकवेस्तस्य कीर्तिर्जगन्ति ॥" इत्थङ्कारं घनैरथैर्युत्पन्नमनसः कवेः । दुर्गमेऽपि भवेन्मार्गे कुण्ठिता न सरस्वती ।। इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे अर्थानुशासने अर्थव्याप्तिनवमोऽध्यायः ॥ 5 , - दशमोऽध्यायः कविचर्या राजचर्या च । गृहीतविद्योपविद्यः काव्यक्रियायै प्रयतेत । नामधातुपारायणे, अभिधानकोशः, छन्दोविचितिः, अलङ्कारतकंच काव्यविद्याः । क- लास्तु चतुःषष्टिरूपविद्याः । सुजनोपजीव्यकविसन्निधिः, देशवार्ता, 10 विदग्धवादो, लोकयात्रा, विद्वद्गोष्ठ्यश्च काव्यमातरः पुरातनक- विनिबन्धाश्च । किञ्च- स्वास्थ्यं प्रतिभाऽभ्यासो भक्तिर्विद्वत्कथा बहुश्रुतता। स्मृतिदायमनिर्वेदश्च मातरोऽष्टौ कवित्वस्य ॥ अपि च नित्यं शुचिः स्यात् । त्रिधा च शौचं वाक्शौचं, मन:-15 शौचं, कायशौचं च । प्रथमे शास्त्रजन्मनी । तार्तीयीकं तु सनख- च्छेदी पादौ, सताम्बूलं मुखं, सविलेपनमात्रं वपुः, महाहमनुल्यणं च वासः, सकुसुमं शिर इति । शुचि शीलनं हि सरस्वत्याः संव- ननमामनन्ति । स यत्वभावः कविस्तदनुरूपं काव्यम् । यादृशाकार- श्चित्रकरस्तादृशाकारमस्य चित्रमिति प्रायोवादः । स्मितपूर्वमभि- भाषणं, सर्वत्रोक्तिगर्भमभिधानं सर्वतोरहस्यान्वेषणं, परकाव्यदूष- णवैमुख्यमनभिहितस्य, अभिहितस्य तु यथार्थमभिधानम् । तस्य भवनं सुसंमृष्टं, ऋतुषट्कोचितविविधस्थानं, अनेकतरुमू- लकल्पितापाश्रयवृक्षवाटिक, सक्रीडापर्वतकं, सदीर्घिकापुष्करि- , , , १Bप्रपन्ना.

·काव्यमीमांसायाम् . णीकं, ससरित्समुद्रावर्तकं, सकुल्याप्रवाहं, सबर्हिणहरिणहारीतं, ससारसचक्रवाकहंसं, सचकोरक्रौञ्चकुररशुकसारिकं, धर्मशान्त- चौरं, भूमिधारागृहयनलतामण्डपकं, सदोलामेडं च स्यात् । काव्याभिनिवेशखिन्नस्य मनसस्तद्विनिर्वेदच्छेदायानामूकपारजनं 6 विजनं वा तस्य स्थानम् । अपभ्रंशभाषणप्रवणः परिचारकवर्गः, समागधभाषाभिनिवेशिन्यः परिचारिकाः। प्राकृतसंस्कृतभाषाविद आन्तःपुरिकाः, मित्राणि चास्य सर्वभाषाविन्दि भवेयुः । सदःसं- स्कारविशुद्ध्यर्थं सर्वभाषाकुशलः, शीघ्रवाक्, चार्वक्षरः, इङ्गिता- कारवेदी, नानालिपिज्ञः, कविः, लाक्षणिकश्च लेखक: स्यात् । तद- 10 सन्निधावतिरात्रादिषु पूर्वोक्तानामन्यतर(म)। खभवने हि भाषानियमं यथा प्रभुर्विदधाति तथा भवति । श्रूयते हि मगधेषु शिशुनागो नाम राजा; तेन दुरुच्चारानष्टौ वर्णानपास्य स्वान्तःपुर एवं प्रवर्तितो नियमः, टकारादयश्चत्वारो मूर्द्धन्यास्तृतीयवर्जमूष्माणस्त्रयः क्षकारश्चेति । श्रूयते च सरसेनेषु कुविन्दो नाम राजा; तेन परुषसंयोगाक्षर- वर्जमन्तःपुर एवेति समानं पूर्वेण । श्रूयते च कुन्तलेषु सातवाहनो नाम राजा; तेन प्राकृतभाषात्म- कमन्तःपुर एवेति समानं पूर्वेण । श्रूयते चोजयिन्यां साहसाङ्को नाम राजा; तेन च संस्कृतभाषा- 20 त्मकमन्तःपुर एवेति समानं पूर्वेण । तस्य सम्पुटिका सेफलकग्नटिका, समुद्कः, सलेखनीकमषी- भाजनानि ताडिपत्राणि भूर्जत्वचो वा, सलोहकण्टकानि तालद- लानि, सुसम्मृष्टा भित्तयः, सततसन्निहिताः स्युः। "तद्धि काव्यवि- चायाः परिकरः” इत्याचार्याः । “प्रतिभैव परिकरः” इति याया- 25 वरीयः। "कविःप्रथममात्मानमेव कल्पयेत् ; कियान्मे संस्कारः, क भाषा- विषये शक्तोऽस्मि, किंरुचिर्लोकः परिवृढो वा, कीशि गोष्टयां १ BC सभूतिधारागृह २ B सौरसेनेषु. ३ BC कविन्दो. 16 ४ B omits च. ५ Bसपल क. ६ B समुद्गक. ७ A सलेखनी B सलेखनीयक.

·6 10 कविरहस्ये दशमोऽध्यायः । विनीतः, कास्य वा चेतः संसजत इति वुद्धा भाषाविशेषमाश्रयेत" इत्याचार्याः । “एकदेशकवेरियं नियमतन्त्रणा, स्वतन्त्रस्य पुनरेक- भाषावत्सर्वा अपि भाषाः स्युः” इति यायावरीयः। देहावेोषक- शेन च भाषाश्रयणं दृश्यते । तदुक्तम्- "गौडाद्याः संस्कृतस्थाः परिचितमचयः प्राकृते लाटदेश्याः सापभ्रंशप्रयोगाः सकलमरुभुवष्टकभादानकाश्च । आवन्त्याः पारियात्राः सह दशपुरजैर्भूतभाषां भजन्ते यो मध्येमध्यदेशं निवसति स कविः सर्वभाषानिषण्णः ॥" जानीयाल्लोकसाम्मत्यं कविः कुत्र ममेति च । असम्मतं परिहरेन्मतेऽभिनिविशेत च ॥ जनापवादमात्रेण न जुगुप्सेत चात्मनि । जानीयात्स्वयमात्मानं यतो लोको निरङ्कुशः ॥ गीतसूक्तिरतिक्रान्ते स्तोता देशान्तरस्थिते । प्रत्यक्षे तु कवी लोकः सावज्ञः सुमहत्यपि ॥ प्रत्यक्षकविकाव्यं च रूपं च कुलयोषितः । गृहवैद्यस्य विद्या च कस्मैचिद्यादि रोचते ॥ इदं महाहासकरं विचेष्टितं परोक्तिपाटचरतारतोऽपि यत् । सदुक्तिरत्नाकरतां गतान्कवीन कवित्वमात्रेण समेन निन्दति ॥ वचः स्वादु सतां लेां लेशवाद्वापि कौतुकात् । बालस्त्रीहीनजातीनां काव्यं याति मुग्वान्मुग्वम् ॥ कार्यावसरसजानां परिव्राजां महीभुजाम् । काव्यं सद्यः कवीनां च भ्रमत्यहा दिशो दश ॥ पितुर्गुरोर्नरेन्द्रस्य सुतशिष्यपदातयः। विविच्यैव काव्यानि स्तुवन्ति च पठन्ति च ॥ 15 20 25 १Aविनीतोस्मि. २ Bomits अपि. ३ B प्रत्यक्षं तु कविकाव्यं.

·५२ काव्यमीमांसायाम 10 10 किश्च नार्द्धकृतं पठेदसमाप्तिस्तस्य फलमिति कविरहस्यम् । न नवीनमेकाकिनः पुरतः । स हि स्वीयं ब्रुवाणः कतरेण साक्षिणा जीयेत । न च खकृति बहु मन्येतं । पक्षपातो हि गुणदोषौ विप- र्यासयति । न च दृप्येत् । दर्पलवोऽपि सर्वसंस्कारानुच्छिनत्ति । प- रैश्च परीक्षयेत् । यदुदासीनः पश्यति न तदनुष्ठातेति प्रायो वादः। कविमानिनं तु छन्दोऽनुवर्त्तनेन रञ्जयेत् । कविम्मन्यस्य हि पुरतः सूक्तमरण्यरुदितं स्याद्विप्लवेत च । तदाह- "इदं हि वैदग्ध्यरहस्यमुत्तमं पठेन्न सूक्तिं कविमानिनः पुरः। न केवलं तां न विभावयत्यसो स्वकाव्यबन्धेन विनाशयत्यपि ॥" अनियतकालाः प्रवृत्तयो विप्लवन्ते तस्मादिवसं निशां च यामक्र- मेण चतुर्दा विभजेत् । स प्रातरुत्थाय कृतसन्ध्यावरिवस्यः सार- खतं सूक्तमधीयीत । ततो विद्यायसथे यथासुखमासीनः काव्यस्य 10 विद्या उपविद्याश्चानुशीलयेदामहरात् । न ह्येवंविधमन्यत्प्रतिभा- हेतुर्यथा प्रत्यग्रसंस्कारः। द्वितीये काव्यक्रियाम् । उपमध्याहूं स्नाया- दविरुद्धं भुञ्जीत च । भोजनान्ते काव्यगोष्टी प्रवर्त्तयेत् । कदाचिच्च प्रश्नोत्तराणि भिन्दीत । काव्यसमस्याधारणा, मातृकाभ्यासः, चित्रा योगा इत्यायामत्रयम् । चतुर्थ एकाकिनः परिमितपरिषदो वा पूर्वा- 20 ह्रभागविहितस्य काव्यस्य परीक्षा । रसावेशतः काव्यं विरचयतो न च विवेकी दृष्टिस्तस्मादनुपरीक्षेत । अधिकस्य त्यागो, न्यूनस्य पूरणम्, अन्यथास्थितस्य परिवर्तनं, प्रस्मृतस्यानुसन्धानं च । इत्यहीनम् । सायं सन्ध्यामुपासीत सरस्वती च । ततो दिवा विहितपरी- 25क्षितस्याभिलेखनमाप्रदोषात् । यावदार्ति स्त्रिय:भिमन्येत । द्विती-- यतृतीयौ साधु शयीत । सम्यक्स्वापो वपुषः परमारोग्याय । चतुर्थे सप्रयत्नं प्रतिबुध्येत । ब्राले मुहूर्ते मनः प्रसीदत्तांस्तानर्थानध्य- क्षयति । इत्याहोरात्रिकम् । २ B मन्येत्. ३ Bछन्दानु. ४ B तस्मात्तदनु परीक्षयेत्.. ५ A परीक्षकस्य. १ B omits किश्च.

·कविरहस्ये दशमोऽध्यायः । चतुर्विधश्चासौ; असूर्यम्पश्यो, निषण्णो, दत्तावसरः, प्रायोजनि- कश्च [इति]। यो गुहागर्भगृहादिप्रवेशान्नैष्ठिकवृत्तिः कवत असा- वसूर्यम्पश्यः । तस्य सर्वे कालाः । यः काव्यक्रियायामभिनिविष्टः कवते न च नैष्ठिकवृत्तिः स निषण्णः। तस्यापि त एव कालाः। यः सेवादिकमविरुन्धानः कवते स दत्तावसरः। तस्य कतिपये कालाः ।। निशायास्तुरीयो यामार्द्धः। स हि सारखतो मुहूर्तः। भोजनान्तः। सौहित्यं हि स्वास्थ्यमुपस्थापयति । व्यवायोपरमः। यदातिविनि- त्तिरेकमेकाग्रतायतनम् । याप्पयानयात्रा । विषयान्तरविनिवृत्तं हि चित्तं यत्र यत्र प्रणिधीयते तत्रं तत्र गुडूचीलागं लगति । यदा यदा चात्मनः क्षणिकतां मन्यते स स कार करणकालः । यस्तु 10 प्रस्तुतं किश्चन संविधानकमुदिश्य कवते, स प्रायोजनिकः। तस्य प्रयोजनवशात्कालव्यवस्था। बुद्धिमदाहार्यवुद्ध्योरियं नियममुद्रा । औपदेशिकस्य पुनरिच्छेव । सर्वे कालाः सर्वाश्च नियममुद्राः। पुरुषवत् योषितोऽपि कवीभवेयुः। संस्कारो ह्यात्मनि समवैति, न स्त्रैणं पौरुषं बा विभागमपेक्षते । श्रूयन्ते दृश्यन्ते च राजपुथ्यो महा-15 मात्रदुहितरो गणिकाः कौतुकिभायोश्च शास्त्रप्रहंतबुद्धयः कवयश्च । सिद्धं च प्रबन्धमनेकादर्शगतं कुर्यात् । यदित्थं कथयन्ति- "निक्षेपो विक्रयो दानं देशत्यागोऽल्पजीविता । त्रुटिको वह्निरम्भश्च प्रबन्धोच्छेदहेतवः ।। दारियं व्यसनासक्तिरवज्ञा मन्दभाग्यता । दुष्टे द्विष्टे च विश्वासः पञ्च काव्यमहापदः ॥” [इति] पुनः समापयिष्यामि, पुनः संस्करिष्यामि, सुहृद्भिः सह विवेच- यिष्यामीति कर्तुराकुलता राष्ट्रोपप्लवश्च प्रबन्धविनाशकारणानि । अहर्निशाविभागेन य इत्थं कवते कृती। एकावलीव का व्यं सतां कण्ठेषु लम्बते ।। , Explained in A as शिविकागमनं. २ Bomits one यत्र and one तत्र. ३C प्रयोजक०. ४ B omits च. ५ B प्रहि. A श्रुठिमो. 20 25 ·काव्यमीमांसायाम 10 यथा यथाऽभियोगश्च संस्कारश्च भवेत्कवेः । तथा तथा निबन्धानां तारतम्येन रम्यता ॥ मुक्तके कवयोऽनन्ताः सङ्घाते कवयः शतम् । महाप्रवन्धे तु कविरेको द्वौ दुर्लभास्त्रयः ।। 5 अन्नाह स्म-"बपि खेच्छया कामं प्रकीर्णमभिधीयते । अनुज्झितार्थसम्बन्धः प्रबन्धो दुरुदाहरः॥” [इति] रीतिं विचिन्त्य विगणय्य गुणान्विगाय शब्दार्थसार्थमनुसृत्य च सूक्तिमुद्राः। कार्यो निबन्धविषये विदुषा प्रयत्नः के पोतयनरहिता जलधौ प्लवन्ते ॥ लोढाभिधोपनिषदां सविधे वुधाना- मभ्यस्यतः प्रतिदिनं बहुदृश्वनोऽपि । किञ्चित्कदाचन कथञ्चन स्मृक्तिपाका- द्वाक्तत्त्वमुन्मिपति कस्यचिदेव पुंसः ॥ इत्यनन्यमनोवृत्तेनिःशेषेऽस्य क्रियाक्रमे । एकपत्नीव्रतं धत्ते कवेर्देवी सरस्वती ॥ सिद्धिः सूक्तिषु सा तस्य जायते जगदुत्तरा । मूलच्छायां न जानाति यस्याः सोऽपि गिरां गुरुः राजा कविः कविसमाजं विदधीत। राजनि कवौ सर्वो लोकः कविः 20 स्यात् । स काव्यपरीक्षायै सभां कारयेत् । सा षोडशभिः स्तम्भै- श्चतुर्भिर्दारैरष्टभिर्मत्तवारणीभिरुपेता स्यात् । तदनुलग्नं राज्ञः केलि. गृहम् । मध्येसभं चतुःस्तम्भान्तरा हस्तमात्रोत्सेधा समणिभूमिका वेदिका । तस्यां राजासनम् । तस्य चोत्तरतः संस्कृताः कवयो निवि- शेरन् । बहुभाषाकवित्वे यो यत्राधिकं प्रवीणः स तेन व्यपदिश्यते । 25 यस्त्वनेकत्र प्रवीणः स सङ्क्रम्य तत्र तत्रोपविशेत् । ततः परं वेदवि- धाविदः प्रामाणिकाः पौराणिकाः स्मार्ता भिषजो मौर्तिका अन्ये- ऽपि तथाविधाः। पूर्वेण प्राकृताः कवयः, ततः परं नटन कगायन- 15 १Bomits स्म. २B मूल्यच्छायां.

·कविरहस्ये दशमोऽध्यायः । 5 , वादनवारजीवनकशीलवतालावचरा अन्येऽपि तथाविधाः। पश्चि- मेनापभ्रंशिनः कवयः, ततः परं चित्रलेप्यतो माणिक्यबन्धका वैकटिकाः वर्णकारवर्द्धकिलोहकारा अन्येऽपि तथाविधाः। दक्षिणतो भूतभाषाकवयः, ततः परं भुजङ्गा गणिकाः प्लवकशोभिकजम्भक- मल्लाः शस्त्रोपजीविनोऽन्येऽपि तथाविधाः। तत्र यथासुखमासीनः काव्यगोष्ठी प्रवर्तयेत् भावयेत्परीक्षेत च । वासुदेवसातवाहनशुद्रकसाहसाङ्कादीन्सकलान्सभापतीन्दानमाना- भ्यामनुकुर्यात् । तुष्टपुष्टाश्चास्य सभ्या भवेयुः, स्थाने च पारितो- षिकं लभेरन् । लोकोत्तरस्य काव्यस्य च यथारे पूजा का अन्तरान्तरा च काव्यगोष्ठी शास्त्रवादाननुजानीयात् । मध्वपि नॉन-10 वदंशं स्वदते। काव्यशास्त्रविरतौ विज्ञानिष्वभिरमेत । देशान्तरा- गतानां च विदुषामन(न्य)द्वारा सङ्गं कार(म)येदौचित्याद्यावस्थिति पूजां च । वृत्तिकामांश्चोपजपेत् सङ्ग्रहीयाच्च । पुरुषरत्नानामेक एव राजोदन्वान्भाजनम् । राजचरितं च राजोपजीविनोऽप्यनुकुयुः। राज्ञ एव ह्यसाबुपकारो यद्राजोपजीविनां संस्कारः। महानगरेषु च काव्यशास्त्रपरीक्षार्थ ब्रह्मसभाः कारयेत् । तत्प- रीक्षोत्तीर्णानां ब्रह्मरथयानं पट्टबन्धश्च । श्रूयते चोजयिन्यां काव्य- कारपरीक्षा- "इह कालिदासमेण्ठावत्रामररूपसूरभारवयः। हरिचन्द्रचन्द्रगुप्तौ परीक्षिताविह विशालायाम् ॥" श्रूयते च पाटलिपुत्रे शास्त्रकारपरीक्षा- "अत्रोपवर्षवर्षाविह पाणिनिपिङ्गलाविह व्याडिः। वररुचिपतञ्जली इह परीक्षिताः ख्यातिमुपजग्मुः ॥" इत्थं सभापतिर्भूत्वा यः काव्यानि परीक्षते । यशस्तस्य जगद्व्यापि स सुखी तत्र तत्र च ॥ इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे कविचर्या राजचर्या च दशमोऽध्यायः ॥ 15 20 25 १ B वादनाग्जीतन. २ B वैगडिक. ३ B नानवर दंशं. ४ B मन. A महाकाव्य. ५ उपजयेत्. ६ ·काव्यमीमांसायाम् .. 1o एकादशोऽध्यायः शब्दहरणम् । परप्रयुक्तयोः शब्दार्थयोरुपनिबन्धो हरणम् । तद्विधा पायाज्य- मनुः च । तयोः शब्दहरणमेव तावत्पञ्चधा पदतः, पादतः, अर्द्धतः, वृत्ततः, प्रबन्धतश्च [इति]। “तत्रैकपदहरणं न दोषाय” इत्या- 5 चार्याः। “अन्यत्र व्यर्थपदात्” इति यायावरीयः। तत्र श्लिष्टस्य श्लिष्टपदेन हरणम्- "दूराकृष्टशिलीमुखव्यतिकरानो किं किरातानिमा- नाराघ्यावृतपीतलोहितमुखान्किं वा पल घानाएं। पान्थाः केसरिणं न पश्यत पुरोऽप्येनं वसन्तं वने मूढा रक्षत जीवितानि शरणं यात प्रियां देवताम् ॥" यथा च-"मा गाः पान्थ प्रियां त्यक्त्वा दराकृष्टशिलीमुखम् । स्थितं पन्थानमावृत्य किं किरातं न पश्यसि ॥" श्लिष्टपदेकदेशेन हरणम्- "नाश्चर्य यदनार्याप्तावस्तप्रीतिरयं मयि । मांसोपयोगं कुर्वीत कथं क्षुद्रहितो जनः ॥" यथा च-"कोपान्मानिनि किं स्फुरत्यतितरां शोभाधरस्तेऽधरः किं वा चुम्बनकारणाद्दयित नो वायोर्विकारादयम् । तस्मात्सुश्रु सुगन्धिमाहितरसं लिग्धं भजस्वादरा- न्मुग्धे मांसरसं ब्रुवन्निति तया गाढं समालिङ्गितः।" 20 श्लिष्टस्य यमकेन हरणम्-"हलमपारपयोनिधिविस्तृतं प्रहरता हलिना समराङ्गणे । निजयशश्च शशाङ्ककलामलं निरवधीरितमाकुलमासुरम् ॥" यथा च-"दलयता विशिखैर्बलमुन्मदं निरवधीरितमाकुलमासुरम् । दशसु दिक्षु च तेन यशः सितं निरवधीरितमाकुलमासुरम् ॥" १ A पुरः, २V मुक्त्वा. ३ B चुंबनकारणादपि तनोर्वायोर्विकारादयं. 16 26 ·5 10 कविरहस्ये एकादशोऽध्यायः । लिष्टस्य प्रश्नोत्सरेण हरणम्- “यस्यां भुजङ्गवर्गः कर्णायतेक्षणं कामिनीवदनं च" यथा च-"किं करोति कियत्कालं वेश्यावेश्मनि कामुकः। कीदृशं वदनं वीक्ष्य तस्याः कर्णायतेक्षणम् ॥" यमकस्य यमकेन हरणम्- "वरदाय नमो हरये पतति जनो यं स्मरन्नपि न मोहरये। बहुशश्चक्रन्द हता मनसि दितिर्येन दैत्यचक्रं दहता ॥" यथा च-चक्रं दहतारं चक्रन्द हतारम् । खङ्गेन तवाजी राजन्नरिनारी ।। एवमन्योन्यसमन्वयेऽन्येऽपि भेदाः। नन्विदमुपदेश्यमेव न भवति । यदित्यं कथयन्ति-"पुंसः कालातिपातेन चौर्यमन्यद्विशीर्यति । अपि पुत्रेषु पौत्रेषु वाकार्य च न शीर्यति ॥" "अयमप्रसिद्धः प्रसिद्धिमानहम् , अयमप्रतिष्ठः प्रतिष्ठावानहम् , अप्रक्रान्तमिदमस्य संविधानकं प्रक्रान्तं मम, गुडूचीवचनोऽयं मृद्वी-15 कावचनोऽहम् , अनाहतभाषाविशेषोऽयमहमादृतभाषाविशेषा, प्र- शान्तज्ञातृकमिदं, देशान्तरितकर्तृकमिदम् , उच्छ(त्स)न्ननिवन्धन- मूलमिदं, म्लेच्छितकोपनिवन्धनमूलमिदमित्येवमादिभिः कारणैः शब्दहरणेऽर्थहरणे वाभिरमेत" इत्यवन्तिसुन्दरी । "त्रिभ्यः पदेभ्यः प्रभृति त्वश्लिष्टेभ्यो हरणम्” इत्याचार्याः । 20 यथा-"स पातु वो यस्य जटाकलापे स्थितः शशाङ्क: स्फुटहारगौरः। नीलोत्पलानामिव नालपुळे निद्रायमाणः शरदीव हंसः॥" यथा च-"स पातु वो यस्य हतावशेषा- स्तत्तुल्यवर्णाञ्जनरश्चितेषु । लावण्ययुक्तेष्वपि वित्रसन्ति दैत्याः स्वकान्तानयनोत्पलेषु ॥" १ B अन्योन्यसंबन्धादन्येपि मेदाः, २V न विशीर्यते. ३V उत्सम. 25 ४ Aथा.

·५८ काव्यमीमांसायाम् 5 10 "न" इति गयावरीरः । उल्लेखवान्पदसन्दर्भः पार रणीय: प्रध्यानिमायतः पादोऽपि । तस्यापि साम्येन किञ्चन हुष्टं स्यात् । यथा-"इत्युक्तवानुनविषाएं मनः समाधाय जयोपपत्तौ। उदारचेता गिरमित्युदारां द्वैपायनामिदधे नरेन्द्रः॥" यथा च-"इत्युक्तवानुक्तिविशेषरम्यं रामानुजन्मा विरराम मानी । सजिप्समाप्तावसरं च वाक्यं सेवाविधिः पुरतः प्रभूणाम् ॥" उल्लेखवान्यथा-"नमः संसारनिर्वाणविषामृतविधायिने । सप्तलोकोर्मिभङ्गाय शङ्करक्षीरसिन्धवे ॥" यथा च-"प्रसरहिन्दुनादाय शुद्धामृतमयात्मने । नमोऽनन्तप्रकाशाय शङ्करक्षीरसिन्धवे ॥" "पाद एवान्यथात्वकरणकारणं न हरणम् , अपि तु स्वीकरणम्" इत्याचार्या। यथा-"त्यागाधिकाः खर्गमुपाश्रयन्ते त्यागेन हीना नरकं ब्रजन्ति । न त्यागिनां किश्चिदसाध्यमस्ति त्यागो हि सर्वव्यसनानि हन्ति ॥" यथा च-"त्यागो हि सर्वव्यसनानि हन्ती- त्यलीकमेतद्भुवि सम्प्रतीतम् । जातानि व्यसनानि तस्या- स्त्यागेन मे मुग्धविलोचनायाः॥" 25 तदिदं स्वीकरणापरनामधेयं हाणातद्वदर्द्धप्रयोगेऽपि। यथा- 15 , 20 AB नाप्रत्यभिज्ञायातः, ·५९ 5 - 10 कविरहस्ये एकादशोऽध्यायः । “पादस्ते नरवर दक्षिणे समुद्रे पादोऽन्यो हिमवति हेमकूटलग्ने । आक्रामत्यलघु महीतलं त्वयीत्थं भूपालाः प्रणतिमपास्य किन्नु कुर्युः॥" यथा घोत्तरार्द्ध-"इत्थं ते विधृतपदवयस्य राज- मार्य कथमिव सीवनी न भिन्ना ॥" एवं व्यस्ता प्रयोगेऽपि । यथा- "तत्तावदेव शशिनः स्फुरितं महीयो यावन्न तिग्मरुचिमण्डलमभ्युदेति । अभ्युद्गते संकलधामनिधौ तु तस्मि- निन्दोः सिताभ्रशकलस्य च को विशेषः॥" यथा च-"तत्तावदेव शशिनः स्फुरितं महीयो यावन्न किश्चिदपि गौरतरा हसन्ति । ताभिः पुनर्विहसिताननपङ्कजाभि- रिन्दोः सिताभ्रशकलस्य च को विशेषः॥" पाद एवान्यथात्वकरणं न स्वीकरणं पादोनहरणं वा । यथा- "अरण्ये निर्जने रानावन्तर्वेश्मनि साहसे। न्यासापहवने चैव दिव्या सम्भवति क्रिया ॥" यथा चोत्तरार्द्ध- "तन्वङ्गी यदि लभ्येत दिव्या सम्भवति क्रिया।" यथा वा-“यस्य केशेषु जीमूता नद्यः सर्वाङ्गसन्धिषु । कुक्षौ समुद्राश्चत्वारस्तस्मै तोयात्मने नमः॥" यथा चोत्तरार्द्ध-"कुक्षौ समुद्राश्चत्वारः स सहेत स्मरानलम् ॥" भिन्नार्थानां तु पादानामेकेन पादेनान्वयनं कवित्वमेव । यथा- 15 20 १ B चोत्तरार्द्ध, २ A प्रयोगोपि, ३ B अभ्युद्यते. ४ V S तुहिनधामनिधी. ५ A पादा.

·काव्यमीमांसायाम् 10 "किमिह किमपि दृष्टं स्थानमस्ति श्रुतं वा ब्रजति दिनकर,ऽयं यत्र नास्तं कदाचित् । भ्रमति विहगसार्थानित्थमापृच्छमानो रजनिविरहभीतश्चक्रवाको वराकः॥" 6 यथा च-"जयति सितविलोलव्यालयज्ञोपवीती घनकपिलजटान्तर्धान्तगङ्गाजलौघः। अविदितमृगचिहामिन्दुलेखां दधानः परिणतशितिकण्ठश्यामकण्ठः पिनाकी ॥" यथा च-"कुमुदवनमपथि श्रीमदम्भोजखण्ड त्यजति मंदमुलूकः प्रीतिमांश्चक्रवाकः। उदयमहिमरश्मिर्याति शीतांशुरस्तं हतविधिललितानां ही विचित्रो विपाकः॥" याँ च-"किमिह किमपि दृष्टं स्थानमस्ति श्रुतं वा घनकपिलजटान्तर्धान्तगङ्गाजलौघः। निवसति स पिनाकी यत्र यायां तेदस्मिन् हतविधिललितानां ही विचित्रो विपाकः ॥" पादोनवत्कतिपयपदप्रयोगोऽपि । यथा- "या व्यापारवती रसान् रसयितुं काचित्कवीनां नवा दृष्टिा परिनिष्ठितार्थविषयोन्मेषा च वैपश्चिती। ते द्वे अप्यवलम्ब्य विश्वमनिशं निर्वर्णयन्तो वयं श्रान्ता नैव च लब्धमब्धिशयन त्वद्भक्तितुल्यं सुखम् ॥" यथा च चतुर्थपादे- "श्रान्ता नैव च लब्धमुत्पलदृशां प्रेम्णः समानं सुखम् ॥" पादैकदेशग्रहणमपि पदैकदेशोपलक्षणपरम् । यथा- "अकलहसितत्वात्क्षालितानीव कान्त्या मुकुलितनयनत्वाव्यक्तकोत्पलानि । 15 20 25 १ शितिकण्ठः, २४ २V मुद. ३ A omits यथा च. ४ B न. ५V सवंशं.

·कविरहस्ये एकादशोऽध्यायः । 5 , पिबति मधुसुगन्धीन्याननानि प्रियाणां त्वयि विनिहितभारः अन्तलानामधीशः॥" यया चोत्तरार्धे-"पिबतु मधुसुगन्धीन्याननानि प्रियाणां मयि विनिहितभारः कुन्तलानामधीशः॥" वाक्यस्यान्यथा व्याख्यानमपि न स्वीकरणं हरणं वा । यथा- "सुश्रु त्वं कुपितेत्यपास्तमशनं त्यक्ता कथा योषितां दूरादेव मयोज्झिताः सुरभयः स्रग्दाम(ग्गन्ध)धूपादयः। कोपं रागिणि मुश्च मय्यवनते दृष्टे प्रसीदाधुना सद्यस्त्वद्विरहाद्भवन्ति दयिते सर्वा ममान्धा दिशः॥" एतच्च कान्ताप्रसादनपरं वाक्यं कुपितदृष्टिपरतया व्याख्यातं 10 ने स्वीकृतं हृतं वा। यत्तु परकीयं स्वीयमिति प्रोक्तानामन्यतमेन कारणेन विलपन्ति, तन्न केवलं हरणम् , अपि तु दोषोदाहरणम् । मुक्तकप्रबन्धविषयं तत् । मूल्ययोऽपि हरणमेव । घरमप्राप्तिर्य- शसो न पुनर्यशः। सभापतिस्तु द्विधा, उपजीव्य, उपजीवकश्च [इति] । तम्रोपजी-15 वनमात्रेण न कश्चिद्दोषः । यतः सर्वोऽपि परेभ्य एव व्युत्पद्यते । केवलं तत्र समुदायो गुरुः । “तद्वदुक्तिहरणम्" इत्याचार्याः। यथा-"ऊरुद्धन्द्धं सरसकदलीकाण्डसब्रह्मचारि।" यथा च-"ऊरुद्वयं कदलकन्दलयोः सवंशं श्रोणिः शिलाफलकसोदरसन्निवेशा। वक्षः स्तनद्वितयताडितकुम्भशोभं सब्रह्मचारि शशिनश्च मुग्वं मृगाक्ष्याः॥" "उक्तयो वर्थान्तरसङ्कान्ता न प्रत्यभिज्ञायन्ते, वदन्ते च; तद- स्तु हरणादपि हरणं स्युः" इति यायावरीयः । "नास्त्यचौरः कविजनो नास्त्यचौरो वणिग्जनः । स नन्दति विना वाच्यं यो जानाति निगुहितुम् ॥ , 20 25 १ A omits न. २ B प्रोक्त्वा नान्यतमेनकर, ३ B न तु दु. ४ B कदलि०. ५ A सदशं.

·६२
काव्यमीमांसायाम्
उत्पादकः कविः कश्चित्कश्चिच्च परिवर्तकः ।
आच्छादकस्तथा चान्यस्तथा संवर्गकोऽपरः॥
शब्दार्थोक्तिषु यः पश्येदिह किञ्चन नूतनम् ।
उल्लिखेत्किञ्चन प्राच्यं मन्यतां स महाकविः॥"
इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे
एकादशोऽध्यायः शब्दहरणानि
5
१
द्वादशोऽध्यायः शब्दार्थहरणेषु कविप्रभेदाः प्रति.
बिम्बकल्पविकल्पस्य च समीक्षा ।
"पुराणकविक्षुण्णे वर्त्मनि दुरापमस्पृष्टं वस्तु, ततश्च तदेव संस्कर्तु
10प्रयतेत” इत्याचार्याः । “न” इति वाक्पतिराजः।
"आसंसारमुदारैः कविभिः प्रतिदिनगृहीतसारोऽपि ।
अद्याप्यभिन्नमुद्रो विभाति वाचां परिस्पन्दः॥"
"तत्प्रतिभासाय च परप्रवन्धेष्ववधीत । तदवगाहने हि सदे-
कयोनयोऽर्थाः पृथक्पृथक् प्रथन्ते” इत्येके। "तत्रत्यांनामर्थानां छा-
15 यया परिवृत्तिः फलम्" इत्यपरे । “महात्मनां हि संवादिन्यो बुद्धय
एकमेवार्थमुपस्थापयन्ति, तत्परित्यागाय तानाद्रियेत" इति च
केचित् । “न” इति यायावरीयः । सारखतं चक्षुरवाङ्मनसगोचरेण
प्रणिधानेन दृष्टमदृष्टं चार्थजातं खयं विभजति ।
तदाहुः-सुप्तस्यापि महाकवेः शब्दार्थों सरखती दर्शयति।तदि-
20 तरस्य तत्र जाग्रतोऽप्यन्धं चक्षुः। अन्यदृष्टचरे ह्यर्थे महाकवयो
जात्यन्धाः। तद्विपरीते तु देव्यदृशः। न तत् त्र्यक्षः सहस्राक्षो वा
यश्चर्मचक्षुषोऽपि कवयः पश्यन्ति । मतिदर्पणे कवीनां विश्वं प्रति-
फलति । कथं नु वयं दृश्यामह इति महात्मनामहंपूर्विकयैव श.
ब्दार्थाः पुरो धावन्ति । यत्सिद्धप्रणिधाना योगिनः पश्यन्ति, तत्र
१ Explained in C as अनेककाव्यार्थप्राही. B संवर्ध. २ B तत्रस्था०. ३ Aवा.
४ Bomits अन्य.

·कविरहस्ये द्वादशोऽध्यायः। 10 वाचा विचरन्ति कवयः इत्यनन्ता महाकविषु सू(विसूक्तयः[इति] "समस्तमस्ति" इति यायावरीयः। किन्तु त्रिपथमर्थमध्यगीष्महि रनुतान्योनेतिद्भुतयोनिरयोनिश्च[इति । तत्रान्ययोनिर्द्विधा प्र- तिषिम्बकल्प, आलेख्यप्रख्यश्च [इति । निद्भुतयोनिरपि द्विधा तु- ल्यदेहितुल्यः परमकेशसदृशश्च [इति । अयोनिः पुनरेकादृश(?) । एव। तत्र- अर्थः स एव सर्वो वाक्यान्तरविरचना परं यत्र । तदपरमार्थविभेदं काव्यं प्रतिबिम्बकल्पं स्यात् ।। यथा- "ते पान्तु वः पशुपतेरलिनोलभासः कण्ठप्रदेशघटिताः फणिनः स्फुरन्तः । चन्द्रामृताम्बुकणसेकमुखप्ररूलै- यैरङ्कुरैरिव विराजति कालकूटः॥" यथा च- -"जयन्ति नीलकण्ठस्य नीलाः कण्ठे महायः। गलद्गङ्गाम्बुसंसिक्तकालकूटाङ्कुरा इव ।। कियताऽपि यत्र संस्कारकर्मणा वस्तु भिन्नवद्भाति । तत्कथितमर्थचतुरैरालेख्यप्रख्यमिति काव्यम् । तत्रैवार्थे यथा- "जयन्ति धवलब्यालाः शम्भोमॅटावलम्बिनः । गलद्गगाम्बुसंसिक्तचन्द्रकन्दाङ्कुरा इव ॥" विषयस्य यत्र भेदेऽप्यभेदबुद्धिनितान्तसादृश्यात् । तत्तुल्यदेहितुल्यं काव्यं बध्नन्ति सुधियोऽपि ॥ यथा-"अवीनादौ कृत्वा भवति तुरगो यावदवधिः पशुर्धन्यस्तावत्प्रतिवसति यो जीवति सुखम् । अमीषां निर्माणं किमपि तदभूदग्धकरिणां वनं वा क्षोणीभृद्भवनमथवा येन शरणम् ॥" 15 20 26 १ Aख. २ B ये अयो. ३ B संसिक्ताः.

·काव्यमीमांसायाम् 5 10 अत्रार्थ-"प्रतिगृहमुपलानामेक एव प्रकारो मुहुरुपकरणत्वादर्घि(जि)ताः पूजिताश्च । स्फुरति हतमणीनां किन्तु तद्धाम येन क्षितिपतिभवने वा खाकरे वा निवासः॥" भूलैक्यं यत्र भवेत्परिकरबन्धस्तु दूरतोऽनेकः। तत्परपुरप्रवेशप्रतिमं काव्यं सुकविभाव्यम् ॥ यथा--"यस्यारातिनितम्बिनीभिरभितो वीक्ष्याम्बरं प्रावृषि स्फूर्जद्गर्जितनिर्जिताम्बुधिरवस्फाराभ्रवृन्दाकुलम् । उत्सृष्टप्रसभाभिषेणनभयस्पष्टप्रमोदाश्रुभिः किश्चित्कुश्चितलोचनाभिरसकृघाताः कदम्बानिलाः ॥" अत्रार्थे-"आच्छिद्य प्रियतः कदम्बकुसुमं यस्यारिदारैर्नवं यात्राभङ्गविधायिनो जलमुचां कालस्य चिहं महत् । सृष्यद्भिः परिचुम्बित नयनयोय॑स्तं हृदि स्थापित सीमन्ते निहितं कथश्चन ततः कर्णावतंसीकृतम् ॥" 15 तदेतचतुष्टय निवन्धनाचे कधीनां द्वात्रिंशद्धरणोपायाः। अमीषां चार्थानामन्वर्था अयस्कान्तवञ्चत्वारः कवयः, पञ्चमश्चादृष्टचरार्थ- दी। तदाहु:- "भ्रामकश्चम्यकः किञ्च कर्षको द्रावकश्च सः । स कविलौकिकोऽन्यस्तु चिन्तामणिरलौकिकः॥ तन्यानोऽनन्यदृष्टत्वं पुराणस्यापि वस्तुनः। योऽप्रसिद्ध्यादिभिर्धाम्यत्यसौ स्याड्रामकः कविः ।। यश्चम्बति परस्यार्थ वाक्येन खेन हारिणा । स्तोकार्पितनवच्छायं चुम्बकः स कविर्मतः॥ परवाक्यार्थमाकृष्य यः खवाचि निवेशयेत् । सःलेखन केनापि स स्मृतः कर्षकः कविः॥ 20 १ B मूल्यैक्यं. २ A. मैकः, ३ Bच.

·कविरहस्ये द्वादशोऽध्यायः । , 10 अप्रत्यभिज्ञेयतया खवाक्ये नवतां नयेत् । यो द्रावयित्वा मूलार्थ द्रावकः स भवेत्कविः॥ चिन्तासमं यस्य रसैकसूतिरुदेति चित्राकृतिरर्थसार्थः। अदृष्टपूर्वो निपुणैः पुराणैः कविः स चिन्तामणिरद्वितीयः॥" तस्य चायोनिरर्थः। स च त्रिधा लौकिकालौकिकभेदेन, तयो- मिश्रत्वेन च । तत्र लौकिकः- "मा कलाकारलतिके वह वर्णगर्व किं डम्बरेण चणिके तव कौसुमेन । पुण्ड्रेक्षुयष्टिरकलरा चकास्तु या स्यन्दते रसमृतेऽपि हि यत्रयोगात् ॥" अलौकिकः-"देवी पुत्रमसूत नृत्यत गणाः किं तिष्ठतेत्यु जे हर्षावृङ्गिरिटाबुदाहृतगिरा चामुण्डयाऽऽलिङ्गिते । पायाद्वो जितदेवदुन्दुभिधनध्वानप्रवृत्तिस्तयो- रन्योन्यानिपातजर्जरजरत्स्थूलास्थिजन्मा रवः ॥" मिश्रः--"स्थिते कुक्षेरन्तर्मुरजयिनि निःश्वासमरुतो जनन्यास्तन्नाभीसरसिजपरागोत्करमुचः । निपीताः सानन्दं रचितफणचक्रेण हलिना समन्तादस्यासुः प्रतिदिवसमेनांसि भवतः॥" तेषां च चतुर्णामर्थानाम्- चत्वार एते कथिता मयैव येऽर्थाः कवीनां हरणोपदेशे। प्रत्येकमष्टत्ववशाद्भवन्ति द्वात्रिंशता तेऽनुगताः प्रभेदैः ।। सत्र प्रतिबिम्बकल्पविकल्पाः (८)। स एवार्थः पौर्वापर्यविपर्या- साव्यत्यस्तकः (१)। 15 20 25 १ A अन्योन्याङ्क. २ B प्रत्येकमाष्टक्य. ३ B पूर्वापर्य. ४ A व्यस्त.

·काव्यमीमांसायाम् यथा-"दृष्ट्वान्येभं छेदमुत्पाद्य रजवा यन्तुर्वाचं मन्यमानस्तृणाय । गच्छन्दभ्रे नागराजः करिण्या प्रेम्णा तुल्यं बन्धनं नास्ति जन्तोः ॥" अत्रार्थे-"निर्विवेकमनसोऽपि हि जन्तोः प्रेमबन्धनमशृङ्खलदाम । यत्प्रति प्रतिगजं गजराजः प्रस्थितश्चिरमधारि करिण्या॥" बृहतोऽर्थस्थाईप्रणयनं ग्वण्डम् । (२)। 10 यथा-"पुरा पाण्डप्रायं तद्नु कपिशिना कृतपदं ततः पाकोद्रेकादरुणगुणसंवर्द्धितवपुः । शनैः शोषारम्भे स्थपुटनिजविष्कम्भविषम वने वीतामोदं बदरमरसत्वं कलयति ॥" अत्रार्थे-"पाकक्रियापरिचयप्रगुणीकृतेन संवर्द्धितारुणगुणं वपुषा निजेन । आपादितस्थपुटसंस्थितिशोषपोषा- देतद्वने विरसतां बदरं विभाति ॥" संक्षिसार्थविस्तरेण तैलबिन्दुः । (३)। यथा-“यस्य तत्रभराक्रान्त्या पातालतलगामिनी । महावराहदंष्ट्राया भूयः सस्मार मेदिनी ॥" अत्रार्थे–“यत्तश्राक्रान्तिमजत्पृथुलमणिशिलाशल्यवेल्लत्फणान्ते क्लान्ते पत्यावहीनां चलदचलमहास्तम्भसम्भारसीमा। सस्मार स्फारचन्द्रगुति पुनरवनिस्तद्धिरण्याक्षवक्ष:- स्थूलास्थिश्रेणिशाणा कषणसितमप्याशुदंष्ट्राप्रमुग्रम्॥" 25 अन्यतमभाषानिबद्धं भाषान्तरेण परिवर्त्यत इति नटनेपथ्यम् (४, यथा-"नेच्छह पासासंकी काओ दिण्णं पि पहिअघरिणीए । १A वर्गि. २ A. वर्गि. ४ B परिवर्तने नट. ५ नेच्छति पाशाशई काको दत्तमपि पथिकगृहिण्या । अवनतकरतलोद्गलितवलयमध्यस्थितं पिण्डम् ॥ 16 20 ३ AC कान्ता.

·कविरहस्ये द्वादशोऽध्यायः । ६७ 5 ओहत्तकरयलोग्गलियवलयमज्झटिअंपिण्डं ॥" अत्रार्थ-"दत्तं पिण्डं नयनसलिलक्षालनाधौतगण्डं द्वारोपान्ते कथमपि तया सङ्गमाशानुबन्धात् । नायोश्चलनतशिराः पार्श्वसञ्चारिचक्षुः पाशाशङ्की गलितवलयं नैनमश्नाति काकः॥" छन्दसा परिवृत्तिश्छन्दोविनिमयः। () । यथा-"कान्ते तल्पमुपागते विगलिता नीवी स्वयं बन्धनात् तद्वासः श्लथमेखलागुणधृतं किञ्चिनितम्बे स्थितम् । एतावत्सखि वेनि केवलमहं तस्याङ्गसङ्गे पुनः कोऽसौ काऽस्मि रतं नु किं कथमपि स्वल्पाऽपि मेन स्मृतिः॥" 10 अवार्थ-"धन्यास्तु याः कथयथ प्रियसङ्गमेऽपि विस्रब्धचाटुकशतानि रतान्तरेषु । नीवीं प्रति प्रणिहितश्च करः पियेण सख्यः शपामि यदि किञ्चिदपि स्मरामि॥" कारणपरावृत्त्या हेतुव्यत्ययः । (६)। यथा-"ततोऽरुणपरिस्पन्दमन्दीकृतरुचिः शशी। दः कामपरिक्षामकामिनीगण्डपाण्डुताम् ॥" अत्रार्थे—“समं कुसुमचापेन गर्भिणीगण्डपाण्डुना । उदयाद्रिशिरःसीम्नि निहितं पदमिन्दुना ॥" दृष्टस्य वस्तुनोऽन्यत्र सङ्क्रमितिः सङ्क्रान्तकम् । (७)। यथा-"लानाट्टैर्विधुतकबरीबन्धलोलैरिदानी श्रोणीभारः कृतपरिचयः पल्लवैः कुन्तलानाम् । अप्येतेभ्यो नभसि पततः पतिशो वारिबिन्दून स्थित्वोद्रीवं कुवलयदृशां केलिहंसाः पियन्ति ॥" अत्रार्थ-"सद्यःलातजपत्तपोधनजटाप्रान्तनुताः प्रोन्मुखैः पीयन्तेऽम्बुकणाः कुरङ्गशिशुभिस्तृष्णाव्यथाविक्लयैः । १ A ओउत्तरकरयलो B ओहुत्तकरयलो. C explains this as अवनतकरतलावगलित. २ A धन्यासि या कथयसि. Cधन्याः स्थ याः कथयथ. ३ B C कारणप्रवृत्या. 15 20 25 ·६८ काव्यमीमांसायाम 10 एतां प्रेमभरालसां च सहसा शुष्यन्मुखीमाकुल: श्लिष्यन् रक्षति पक्षसम्पुटकृतच्छायः शकुन्तः प्रियाम्॥" उभयवाक्यार्थोपादानं सम्पुटः (८) यथा-"विन्ध्यस्थाद्रेः परिसरनदी नर्मदा सुझु सैषा यादोभर्तुः प्रथमगृहिणी यां विदुः पश्चिमस्य । यस्यामन्तःस्फुरितशफरत्रासहासाकुलाक्षी स्वैरं स्वर कथमपि मया तीरमुत्तारिताऽसि ॥" यथा-"नाभीगुहाबिल विशञ्चलवीचिजात- मक्षुध्वनिश्रुतिकणत्कलकुकुभानि । रेवाजलान्यविरलं |हिलीक्रियन्ते लाटाङ्गनाभिरपराह्ननिमजनेषु ॥" अबार्थे-"यद्वाभिर्जगाहे गुरुशकुलकुलास्फालनत्रासहास: व्यस्तोरुस्तम्भिकाभिर्दिशि दिशि सरितां दिग्जयप्रक्रमेषु । अम्भो गम्भीरनाभीकुहरकवलनोन्मुक्तिपर्यायलोल- कल्लोलाबद्धमुग्धध्वनिचकितरणत्कुकुभं कामिनीभिः॥" सोऽयं कवेरकवित्वदायी सर्वथा प्रतिबिम्बकल्पः परिहरणीयः । यतः-पृथक्त्वेन न गृह्णन्ति वस्तु काव्यान्तरस्थितम् । पृथक्त्वेन न गृह्णन्ति स्खवपुः प्रतिबिम्बितम् ।। इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे शब्दार्थहरणेषु कविप्रभेदाः प्रतिबिम्बकल्पविकल्पस्य समीक्षा द्वादशोऽध्यायः ॥ 15 20 १ B शफरी. २ B कणजल. ३ B गृहिणी. ४ B कवेरवकवित्व.

·६१ कुङ्कुमपङ्कचुम्बि 5 10 कविरहस्ये त्रयोदशोऽध्यायः । त्रयोदशोऽध्यायः अर्थहरणेष्वालेख्यप्रख्यादिभेदाः । आलेख्यप्रख्यपरिसङ्ख्याः (८)। सदृशसञ्चारणं समक्रमः (१) । यथा-"अस्तादिवेश्मनि दिशो वरुणप्रियाया- स्तिर्यकथञ्चिदपयन्त्रणमास्थितायाः। गण्डेकपार्श्वमिव बिम्बं रुचामधिपतेररुणं रराज ॥" यथा च-"प्राग्दिशः प्रतिकलं विलसन्त्याः कुङ्कुमारुणकपोलतलेन । साम्यमेति कलितोदयरागः पश्य सुन्दरि तुषारमयूखः ॥" अलङ्कृतमनलङ्कृत्याभिधीयत इति विभूषणमोषः (२)। यथा-"कुवलयसिति मूले बालचन्द्राङ्कुराभं तदनु खलु ततोऽग्रे पाकपीताम्रपीतम् । अभिनवरविरोचिर्द्धमधूनं शिखाया- मिति विविधधिकारं दिद्युते दैपमर्चिः॥" अत्रार्थ-"मनाङ्गले नीलं तदनु कपिशोन्मेषमुदरे ततः पाण्डु स्तोकं स्फुरदरुणलेखं च तदनु । शिखायामाधूनं धृतविविधवर्णक्रममिति क्षणादर्चिदेपं दलयति तमः पुचितमपि ॥" क्रमेणाभिहितस्यार्थस्य विपरीताभिधानं व्युत्क्रमः (३)। यथा तत्रैव-"श्यामं शिखाभुवि मनागरुणं ततोऽधः स्तोकावपाण्डुरघनं च ततोऽप्यधस्तात् । आपिञ्जरं तदनु तस्य तले च नील- मन्धं तमःपटलमहति दैपमर्चिः॥" सामान्यनिबन्धे विशेषाभिधानं विशेषोक्तिः (४)। यथा-"इत्युद्गते शशिनि पेशलकान्तदूती- संलापसञ्चलितलोचनमानसाभिः। १ A. रगुणं. 15 20 25 - ·काव्यमीमांसायाम् . 10 अग्राहि मण्डनविधिविपरीतभूषा- विन्यासहासितसखीजनमङ्गनाभिः ॥" अत्रार्थे-"चकार काचित्सितचन्दनाङ्के काञ्चीकलापं स्तनभारपृष्ठे । प्रियं प्रति प्रेषितचित्तवृत्ति- नितम्बबिम्बे च बबन्ध हारम् ॥" उपर्जनस्वार्थस्य प्रधानतायामुत्तंसः (4)। यथा-"दीपयन्नथ नभः किरणौधैः कुडमारुणपयोधरगौरः। हेमकुम्भ इव पूर्वपयोधे- रुन्ममज शनकैस्तुहिनांशुः॥" अत्रार्थे-"ततस्तम श्यामलपट्टकञ्चुकं विपाटयत्किञ्चिददृश्यतान्तरा । निशातरुण्याः स्थितशेषकुङ्कुम- स्तनाभिरामं स(श)कलं कलावतः॥" तदेव वस्तूक्तिवशादन्यथा क्रियत इति नवनेपथ्यम् (६)। यथा-"आननेन्दुशशलक्ष्म कपोले सादरं विरचितं तिलकं यत् । तस्पिये विरचितावधिभङ्गे धौतमीक्षणजलैस्तरलाक्ष्याः॥" अत्रार्थे-"शोकाश्रुभिर्वासरखण्डितानां सिक्ताः कपोलेषु विलासिनीनाम् । कान्तेषु कालात्ययमाचरत्सु खल्पायुषः पत्रलता बभूवुः॥" परिकरसाम्ये सत्यपि परिकार्यस्यान्यथात्वादेकपरिकार्यः (७)। "व्याजेनबत्न: स इमां त्रिलोकी यस्योद्गतेन गगने महता.करेण । १ A नटनेपथ्यम्. 15 20 25 ·कविरहस्ये त्रयोदशोऽध्यायः । 5 10 मूलमरूढासतदाबला करेण नालायितं तपनबिम्बसरोरुहस्य ॥" अत्रार्थ-"सरलकरदण्डनालं गजवपुषः पुष्करं विभोर्जयति । मूल बिसकाण्डभूमौ यत्राभूदेकदंष्ट्रव ॥" विकृतेः प्रकृतिप्रापणं प्रत्यापत्तिः (८)। यथा-"रविसङ्क्रान्तसौभाग्यस्तुषाराविलमण्डलः। निःश्वासान्ध इवादर्शश्चन्द्रमा न प्रकाशते ॥" अनार्थ-"तस्याः प्रतिद्वन्द्विभवाद्विषादा- त्सद्यो विमुक्तं मुग्वमाषभासे । निःश्वासबाष्पापगमे प्रपन्न: प्रसादमात्मीयमिवात्मदर्शः॥" ता इमा आलेख्यप्रख्यस्य भिदाः । सोऽयमनुग्राह्यो मार्गः। आहुश्व-"सोऽयं भणितिवैचित्र्यात्समस्तो वस्तुविस्तरः। नटवर्णिकायोगादन्यथास्वमिवार्छति ॥" अथ तुल्यदेहितुल्यस्य भिदाः (८)। तस्यैव वस्तुनो विषयान्तरयो-15 जनादन्यरूपापत्तिविषयपरिवर्तः (१)। यथा--"ये सीमन्तितगात्रभस्मरजसो ये कुम्भकवेषिणो ये लीढाः श्रवणाश्रयेण फणिना ये चन्द्रशैत्यद्रुहः । ते कुप्यगिरिजाविभक्तवपुषश्चित्तव्यथासाक्षिणः स्थाणोदक्षिणनासिकापुटभुवः श्वासानिलाः पान्तु वः ।। 20 अत्रार्थे–“ये कीर्णकथितोदराब्जमधवो ये म्लापितोरःस्रजो ये तापात्तरलेन तल्पफणिना पीतप्रतीपोज्झिताः। ते राधास्मृतिसाक्षिणः कमलया सासूयमाकर्णिता गाढान्तर्दवथोः प्रतप्तसरलाः श्वासा हरेः पान्तु वः॥" द्विरूपस्य वस्तुनोऽन्यतम(र)रूपोपादानं द्वन्द्वविच्छित्तिः (२)। 25 यथा-"उत्क्लेशं केशबन्धः कुसुमशररिपोः कल्मषं वः स मुष्या- धनेन्दुं वीक्ष्य गङ्गाजलभरलुलितं बालभावादभूताम् । १ A. B. मूलावलग्न.

·काव्यमीमांसायाम् .5 10 क्रौश्वारातिश्च फाण्टस्फुरतशफरिकामोहलोलेक्षणश्री: सया प्रोद्यन्मृणालीग्रहणरसलसत्पुष्करच द्विपास्यः॥" अनार्थ-"दिश्यार्जटिजूटकोटिसरिति ज्योत्लालवोद्भासिनी शाशाङ्की कलिका जलभ्रमिवशाड्राग दृष्टनष्टा सुखम् । यां चञ्चच्छफरीभ्रमेण मुकुलीकुर्वन्फणाली मुहु- मुंथल्लक्ष्यमहिर्जिघृक्षालामाकुञ्चनमाञ्चनैः॥" पूर्वार्थानामर्थान्तरैरन्तरणं रत्नमाला (३)। यथा-"कपाले मार्जारः पय इति करांल्लेढि शशिनः तरुच्छिद्रप्रोतान्बिसमिति करेणुः कलयति । रतान्ते तल्पस्थान्हरति वनिताऽप्यंशुकमिति प्रभामत्तश्चन्द्रो जगदिदमहो विभ्रमयति ॥" अबार्थे---"ज्योत्लार्चिदुग्धबुद्धया कवलितमसकृद्भाजने राजहंसैः खांसे कर्परपांसुच्छरणरभसतः सम्भृतं सुन्दरीभिः । पुम्भिर्व्यस्तं स्तनान्तात्सिचयमिति रहःसम्भ्रमे वल्लभानां लीढं दाक्सिन्धुवारेष्वभिनवसुमनोलम्पटैः षट्पदैश्च ॥" सङ्ग्यावैषम्येणार्थप्रणयनं सयोल्लेखः (४)। यथा-"नमन्नारायणच्छायाच्छुरिताः पादयोनखाः। त्वचन्द्रमिव सेवन्ते रुद्र रुद्रे(घ)न्दवो दश (2)॥" अत्रार्थे-"उमैकपादाम्बुरुहे स्फुरन्नखे कृतागसो यस्य शिरःसमागमे । षडात्मतामाश्रयतीव चन्द्रमाः स नीलकण्ठः प्रियमातनोतु वः ॥" सममभिधायाधिकस्योपन्यासश्चलिका(५) द्विधा च सा संवादिनी विसंवादिनी च [इति । 26 तयोः प्रथमा यथा-"अङ्गणे शशिमरीचिलेपने सुप्तमिन्दुकरपुञ्जसन्निभम् । राज समसमाक्ष्य कातरा रौति हंसवनिताऽश्रुगद्गदम् ॥" 15 .. 20 ·5 10 कविरहस्ये त्रयोदशोऽध्यायः । अत्रार्थे--"चन्द्रप्रभाप्रसरहासिनि सोधपृष्ठे दुर्लक्षपक्षतिपुटां न विवेद जायाम् । मूढश्रुतिर्मुखरनूपुरनिःस्वनेन व्याहत्रेणीपि पुरो गृहराजहंसः॥" हिंतीया तत्रैवार्थे यथा-"ज्योत्स्नाजललायिनि सोधपृष्ठे विविक्तमुक्ताफलपुञ्जगौरम् । विवेद हंसी दयितं कथञ्चि- चलत्तुलाकोटिकलैर्निनादैः॥" निषेधस्य विधिना निबन्धो विधानापहारः । (६)। यथा-"कुरबक कुचाघातक्रीडारसेन वियुज्यसे बकुलविटपिन् स्मर्त्तव्यं ते मुखासवसेचनम् । चरणघटनाशून्यो यास्यस्यशोक सशोकता- मिति निजपुरत्यागे यस्य द्विषां जगदुः स्त्रियः॥" अत्रार्थे- "मुग्नमदिरया पादन्यासर्विलासविलोकितै- बकुलविटपी रक्ताशोकस्तथा तिलकद्रुमः । जलनिधितटीकान्ताराणां क्रमात्ककुभां जये झगिति गमिता यदाभिर्विकासमहोत्सवम् ॥" बहूनामर्थानामेकत्रोपसंहारो माणिक्यपुनः। (७)। यथा-"शैलच्छलेन खं दीर्घ भुजमुत्तभ्य भूवधूः। निशासख्याः करोतीव शशाङ्कतिलकं मुखे ॥" यथा च-"फुल्लातिमुक्तकुसुमस्तबकाभिराम- दूरोल्लसत्किरणकेसरमिन्दुसिंहम् । दृष्ट्वोदयाद्रिशिखरस्थितमन्धकार- दुर्वारवारणघटा व्यघटन्त सद्यः॥" यथा च--"संविधातुमभिषेकमुदासे मन्मथस्य लसदंशुजलौघः। 15 20 26 १Bभ्य. १० ·७४ काव्यमीमांसायाम् यामिनीवनितया ततचिहः सोत्पलो रजतकुम्भ इवेन्दुः ॥" यथाच- "उदयति पश्य कृशोदरिदलितत्वक्षीर(त्वक्सार)करणिभिः किरणैः 5 उदयाचलचूडामणिरेष पुरो रोहिणीरमणः ॥" यथा च-"उदयति नवनीतपिण्डपाण्डः कुमुदवनान्यवघयन्कराः उदयगिरितटस्फुटाहासो रजनिवधूमुग्वदर्पणःशशाङ्कः॥" यथा च-"प्रोषितैकेन्दुहंसेऽस्मिन्सनाविव तमोऽम्बुभिः । नभस्तडागे मदनस्ताराकुमुदहा(भा)सिनि ॥" 10 अत्रार्थे–“रजनिपुरन्धिरोधतिलकस्तिमिरद्विपयूथकेसरी रजतमयोऽभिषेककलशः कुसुमायुधमेदिनीपतेः। अयमुदयाचलेकचूडामणिरभिनवदर्पणो दिशा- मुदयति गगनसरसि हंसस्य हसन्निव विभ्रमं शशी।' कन्दभूतोऽर्थः कन्दलायमानैर्विशेषैरभिधीयत इति कन्दः । (८) 15 यथा- 20 "विशिखामुखेषु विसरति पुनीभवतीव सौधशिखरेषु । कुमुदाकरेषु विकसति शशिकलशपरिस्रुता ज्योत्ला ॥" अत्रार्थे-"वियति विसर्पतीव कुमुदेषु बहूभवतीव योषितां प्रतिफलतीव जरठशरकाण्डपाण्डषु गण्डभित्तिषु । अम्भसि विकसतीव लसतीव सुधाधवलेषु धामसु ध्वजपटपल्लवेषु ललतीव समीरचलेषु चान्द्रका ॥ स्कटिकमाघट इवेन्दुस्तस्यामपिधानमाननमिवाङ्कः । क्षरति चिरं तेन यथा ज्योत्स्ना घनसारधूलिरिव ॥ तिमणिकलशादिन्दोहरिणहरितृणपिधानतो गलितः । 26 रजनिभुजिष्या सिञ्चति नभोऽङ्गणं चन्द्रिकाम्भोभिः॥ संविधातुमभिषेकमुदासे मन्मथस्य लसदंशुजलौघः। १ Explained in Cas सदृशैः. २ K विपाण्डुषु. ३K हसतीव. - ·कविरहस्ये त्रयोदशोऽध्यायः । 5 10 यथा- यामिनीवनितया ततचिह्नः सोत्पलो रजतकुम्भ इवेन्दुः॥" ता इमास्तुल्यदेहितुल्यस्य परिसंख्याः । “सोज्यमुल्लेखवाननु- ग्रायो मार्गः” इति सुरानन्दः । तदाह- "सरस्वती सा जयति प्रकामं देवी श्रुतिः वस्त्ययनं कवीनाम् । अनर्घतामानयति खभङ्गया योल्लिख्य यत्किञ्चिदिहाथरत्नम् ॥" अथ परपुरप्रवेशसदृशस्य भिदाः (८) । उपनिबद्धस्य वस्तुनो युक्तिमती परिवृत्तिहुंडयुद्धम् । (२) "कथमसौ न भजत्यशरीरतां हतविवेकपदो हतमन्मथः । प्रातः कदलीदलकोमले भवति यस्य दया न वधूजने ॥" अत्रार्थ "कथमसौ मदनो न नमस्यता स्थितविवेकपदो मकरध्वजः। मृगदृशां कदलीललितं बपु- यंदभिहन्ति शरैः कुसुमोद्भवैः॥" प्रकारान्तरेण विसदृशं यवस्तु तस्य निबन्धः प्रतिकञ्चकम् । (२)। "माद्यच्चकोरेक्षणतुल्यधाम्नो धारां दधाना मधुनः पतन्तीम् । चश्वग्रदष्टोत्पलनालहृद्या हंसीव रेजे शशिरत्नपारी॥" अत्रार्थे "मसारपारेण बभौ ददाना काचित्सुरां विद्रुमनालकेन । 15 : यथा- 20 - 25 १C Explains as ख्यातिकारणं. २B ति.

·७६ काव्यमीमांसायाम् 5 10 यथा- वळूरवल्लीं दधतेव चश्वा केलीशुकेनाञ्जलिना धृतेन ॥" उपमानस्य पमानान्तरपरिवृत्तिर्वस्तुसंचारः। (३)। यथा- "अविरलमिव दाना पौण्डरीकेण बद्धः लपित इव च दुग्धस्रोतसा निर्भरेण । कवलित इव कृत्लश्चक्षुषा स्फारितेन प्रसभामुतमेनेव सान्द्रेण सिक्तः॥" अत्रार्थे- "मुक्तानामिव रजवो हिमरुचेर्मालाः कलानामिव क्षीराब्धेरिव वीचयः क्लममुषः पीयूषधारा इव । दीर्घापाङ्गनदी दिलखुध सहसा लीलानुभावाश्चिताः सद्यः प्रेमभरोल्लसा मृगदृशो मामभ्यषिश्चन्दशः॥ शब्दालङ्कारस्यार्थालङ्कारेणान्यथात्वं धातुवादः । (४)। "जयन्ति बाणासुरमौलिलालिताः दशास्यचूडामणिचक्रचुम्बिनः। सुरासुराधीशशिखान्तशायिनो भवच्छिदख्यम्बकपादपांसवः। अत्रार्थ- "सन्मार्गालोकनप्रौढिनिरजीकृतजन्तवः । जयन्त्यपूर्वव्यापाराः पुरारेः पादपांसवः॥" तस्यैव वस्तुन उत्कर्षेणान्यथाकरणं सत्कारः। (५)। यथा-"लानाविधुतकबरीबन्धलोलैरिदानी श्रोणीभारः कृतपरिचयः पल्लवैः कुन्तलानाम् । अप्येतेभ्यो नभसि पततः पतिशो वारिबिन्दून् स्थित्वोद्रीवं कुवलयदृशां केलिहंसाः पिबन्ति ॥" अत्रार्थे-"लक्ष्म्याः क्षीरनिधेरुदक्तवपुषो वेणीलताग्रच्युता ये मुक्ताग्रथनामसूत्रसुभगाः प्राप्ताः पयोषितः वः। 15 20 25 ·कविरहस्ये त्रयोदशोऽध्यायः । यथा- 5 10 ते वः पान्तु विशेषसस्पृहदशा दृष्टाश्चिरं शाङ्गिणा हेलोडीवजलेशहंसवनितालीढाः सुधास्वादवः ॥" पूर्व सदृशः पश्चाद्भिन्नो जीवञ्जीवकः । (६)। "नयनोदरयोः कपोलभागे रुचिमद्रनगणेषु भूषणेषु । सकलप्रतिबिम्बितेन्दुबिम्बा शतचन्द्राभरणै(णे)व काचिदासीरः ॥" अत्रार्थ-"भास्वत्कपोलतलकुण्डलपारिहार्य- सन्मेखलामणिगणप्रतिबिम्बितेन । चन्द्रेण भाति रमणी रमणीयवक्त्र- शोभाभिभूतवपुषेव निषेव्यमाणा ॥" प्राक्तनवाक्याभिप्रायनिबन्धो भावमुद्रा । (७)। "ताम्बूलवल्लीपरिणद्धपूगा- खेलालतालिङ्गितचन्दनासु । तमालपत्रास्तरणासु रन्तुं प्रसीद शश्वन्मलयस्थलीषु ॥" अत्रार्थे- "निश्चेतनानामपि युक्तयोगदो नूनं स एनं मदनोऽधितिष्ठति । एला यदाश्लिष्टवतीह चन्दनं पूगद्रुमं नागलताऽधिरोहति ॥" पूर्वार्थपरिपन्थिनी वस्तुरचना तविरोधी(धिनी)। (८)। यथा- "हारो वक्षसि दन्तपत्रविशदं कर्णे दलं कौमुदं माला मूर्ध्नि दुकूलिनी तनुलता कर्पूरशुक्लौ स्तनौ । वक्रे चन्दनविन्द्वारेन्दुधवलं बालं मृणालं करे वेषः किं सित एष सुन्दरि शरचन्द्रात्त्वया शिक्षितः॥” 25 अत्रार्थे-"मूर्तिलदुकूलिनी मृगमदैः प्रत्यङ्गपत्रक्रिया बाहू मेचकरनकङ्कणभृतौ कण्टे मसारावली । 15 20

·काव्यमीमांसायाम्
6
व्यालम्बालकवल्लरीकमलिकं कान्ताभिसारोत्सवे
यत्सत्यं तमसा मृगाक्षि विहितं वेषे तवाचार्यकम् ॥"
इत्यर्थहरणोपाया द्वात्रिंशदुपदर्शिताः ।
हानोपादानविज्ञाने कवित्वं तत्र मां प्रति ।।
किं चैते हरणोपाया ज्ञेयाः सप्रतियोगिनः।
अर्थस्य वैपरीत्येन विज्ञेया प्रतियोगिता ॥
किञ्च-शब्दार्थशासनविदः कति नो कवन्ते
यहाायं श्रुतिधनस्य चकास्ति चक्षुः।
किन्त्वस्ति यदचसि वस्तु नवं सदुक्ति-
सन्दर्भिणां स धुरि तस्य गिरः पवित्राः॥
इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे
अर्थहरणेष्वालेख्यप्रख्यादिभेदात्रयोदशोऽध्यायः ॥
10
चतुर्दशोऽध्यायः जातिव्यक्रियासमयस्थापना।
अशास्त्रीयमलौकिकं च परम्परायातं यमर्थमुपनिबध्नन्ति कवयः
15 स कविसमयः।
"नन्वेष दोषः । कथङ्कारं पुनरुपनिवन्धनाहः” इत्याचार्याः ।
"कविमार्गानुग्राही कथमेष दोषः?” इति यायावरीयः। “निमित्तं तर्हि
वाच्यम्" इत्याचार्याः । “इदमभिधीयते” इति यायावरीयः।
पूर्वे हि विद्वांसः सहस्रशाखं साङ्गं च वेदमवगाह्य, शास्त्राणि
20 चावबुध्य, देशान्तराणि द्वीपान्तराणि च परिभ्रम्य, यानर्थानुपलभ्य
प्रणीतवन्तस्तेषां देशकालान्तरवशेनान्यथात्वेऽपि तथात्वतोपाने-
बन्धो यः स कविसमयः । कविसमयशब्दश्चायं मूलमपश्यद्भिः
प्रयोगमात्रदर्शिभिः प्रयुक्तो रूंढश्च ।
तत्र कश्चिदणका व्यवस्थितः कषिसमयेनार्थः, कश्चित्परस्पो-
25 पक्रमार्थ स्वार्थाय धूतैः प्रवर्तितः। स च त्रिधा खर्यों भौमः

·10 कविरहस्से चतुर्दशोऽध्यायः । पातालीयश्च [इति] । खर्यपातालीययोभीमः प्रधानः । स हि महा- विषयः । स च चतुर्दा जातिद्रव्यगुणक्रियारूपार्थतया । तेऽपि प्रत्येकं त्रिधा असतो नियन्धनात्, रतोप्यानेबन्धनात्, नियमतश्च। तत्र सामान्यस्यासतो निबन्धनं यथा-नदीषु पलोत्पलादीनि । जलाशयमात्रेऽपि हंसादयः। यत्र तत्र पर्वतेषु सुवर्णलादेवं च । नदीपद्मानि यथा-"दी/कुर्वन्पटुमदकलं कृजितं सारसानां प्रत्यूषेषु स्फुटितकमलामोदमैत्रीकषायः। यत्र स्त्रीणां हरति सुरतग्लानिमङ्गानुकूल: शिप्रावातः प्रियतम इव प्रार्थनाचाटुकारः॥" नदीनीलोत्पलानि--"गगनगमनलीलालम्भितान्खेदबिन्दन मृदुभिरनिलचारैः खेचराणां हरन्तीम् । कुवलयवनकान्त्या जाह्नवीं सोऽभ्यपश्यत् दिनपतिसुतयेव व्यक्तदत्ताकपालीम् ॥" एवं नदीकुमुदाद्यपि । सलिलमात्रे हंसा यथा- “आसीदस्ति भविष्यतीह स जनो धन्यो धनी धार्मिकः यः श्रीकेशववत्करिष्यति पुनः श्रीमत्कुडुङ्गेश्वरम् । हेलान्दोलितहंससारसकुलकेङ्कारसम्मूञ्छितै- रित्याघोषयतीव तन्नवनदी यच्चेष्टितं वीचिंभिः॥" पर्वतमात्रे सुवर्ण यथा-"नागावासश्चित्रपोताभिरामः वर्णस्फातिव्याप्तदिक्चक्रवालः। साम्यात्सख्यं जग्मिवानम्बुराशे- रेष ख्यातस्तेन जीमूतभर्ता ॥" रत्नानि यथा-"नीलाइमरश्मिपटलानि महेभमुक्त- सूत्कारशीकरविधि तटान्तरेषु । आलोकयन्ति सरलीकृतकण्ठनाल : सानन्दमम्बुधियाऽत्र मयूरनार्यः॥" 15 5 20 25 १ A वा. २ AB वारि. ३ A स्वर्णस्फीति.

·८० काव्यमीमांसायाः एवमन्यदपि । सतोऽप्यनिबन्धनं तद्यथा-न मालती वसन्ते, न पुष्पफलं चन्दनद्रुमेषु, न फलमशोकेषु । तत्र प्रथमः-"मालतीविमुखश्चैत्रो विकासी पुष्पसम्पदाः । आश्चर्य जातिहीनस्य कथं सुमनसः प्रियाः॥" द्वितीय:-"यद्यपि चन्दनविटपी विधिना फलकुसुमवर्जितो विहितः। निजवपुषैव परेषां तथापि सन्तापमपहरति ॥" तृतीयः-“दैवायत्ते हि फले किं क्रियतामेतदत्र तु वदामः । नाशोकस्य किसलय क्षान्तरपल्लवास्तुल्याः॥" अनेकत्र प्रवृत्तवृत्तीनामेकत्राचरणं नियमः। तद्यथा-समुद्रेष्वेव 10 मकराः, ताम्रपामेव मौक्तिकानि । तयोः प्रथमः- “गोत्राग्रहारं नयतो गृहत्वं स्वनाममुद्राङ्कितमम्बुराशिम् । दायादवर्गेषु परिस्फुरत्सु दंष्ट्रावलेपो मकरस्य वन्यः ॥" 15 द्वितीयः-“कामं भवन्तु सरितो भुवि सप्रतिष्ठाः खादूनि सन्तु सलिलानि च शुक्तयश्च । एतां विहाय वरवर्णिनि ताम्रपर्णी नान्यत्र सम्भवति मौक्तिककामधेनुः ॥" असतोऽपि द्रव्यस्य निबन्धनम् । तद्यथा-मुष्टिग्राह्यत्वं सूचीभे- 20 द्यत्वं च तमसः, कुम्भापवायत्वं च ज्योत्स्लायाः। तत्र प्रथमम्-"तनुलग्ना इव ककुभः भूवलयं चरणचारमात्रमिव । दिवमिव चालिकदानीं मुखियार तमः कुरुते ॥" यथा च-"पिहिते कारागारे तमसि च सूचीमुखाग्रनिर्भेये। मयि च निमीलितनयने तथापि कान्ताननं व्यक्तम् ॥” 28 द्वितीयम्-"यद्रावेतकेतकोदरदलस्रोत:श्रियं बिभ्रती येयं मौक्तिकनामामा धेर्योग्यच्छवि: प्रागभूत् । १C जनितः. २ V कुम्भोपनाह्यत्वं. ३V शङ्खद्रावित० C तत्रद्रावित० तन्त्र is explained as औषध. .

·, 10 कविरहस्ये चतुर्दशोऽध्यायः । ८१ उत्सेच्या कलशीभिरञलिपुटैया मृणालाकुरैः पातव्या च शशिन्यमुग्धविभवे सा वर्तते चन्द्रिका ॥" द्रव्यस्य सतोऽनिबन्धनम् । तद्यथा-कृष्णपक्षे सत्या अपि ज्यो- लायाः, शुक्लपक्षे त्वन्धकारस्य । तयोः प्रथमम्- "ददृशाते जनस्तत्र यात्रायां सकुतूहलैः । बलभद्रप्रलम्बनौ पक्षाविव सितासितौ ॥" द्वितीयम्-"मासि-मासि समा ज्योत्स्ना पक्षयोः शुक्लकृष्णयोः । तत्रैकः शुक्लतां यातो यशः पुण्यैरवाप्यते ॥" द्रव्यनियमः। तद्यथा-मलय एव चन्दनस्थानं, हिमवानेव भू- जोत्पत्तिस्थानम् । तत्र प्रथमः-"तापापहारचतुरो नागावासः सुरमियः । नान्यत्र मलयादवेंदृश्यते चन्दनद्रुमः॥" द्वितीयः "न्यस्ताक्षरा धातुरसेन यत्र भृर्जत्वचः कुञ्जरबिन्दुशोणाः । व्रजन्ति विद्याधरसुन्दरीणा- मनङ्गलेग्वक्रिययोपयोगम् ॥" प्रपोर्णिकद्रज्यकाबिसमयस्तु तद्यथा-क्षीरक्षारसमुद्रयोरैक्यं, गरमहासमुन्योश्च । तयोः प्रथमः-"शेतां हरिर्भवतु रत्नमनन्तमन्त- लक्ष्मीप्रसूतिरिति नो विवदामहे हे(डब्धे)। हा दूरदरसपयास्तृषितस्य जन्तोः 'किं त्वत्र(न्न) कूपपयसः स मरोजघन्यः॥" द्वितीयः-"रङ्गत्तरङ्गभूभङ्गैस्तर्जयन्तीमिवापगाः । स ददर्श पुरो गङ्गां सप्तसागरवल्लभाम् ॥" असतोऽपि क्रियार्थस्य निबन्धनम् । यथा-चक्रवाकमिथुनस्य 25 निशि भिन्नतटाश्रयणं, चकोराणां चन्द्रिकापानं च । 15 20 १V उत्सेक्या. २V ऽहो. ३ V किन्त्वस्ति सिक.

·८२ 5 10 काव्यमीमांसायाम् तत्र प्रथम:-"सटिपता यामवतीस्तटिनीनां तनयता पयःपूरान् । रथचरणाह्वयवयसां किं नोपकृतं निदान ॥" द्वितीयः-"एतास्ता मलयोपकण्ठसरितामेणाक्षि रोधोभुव- श्वापाभ्यासनिकेतनं भगवतः प्रेयो मनोजन्मनः। यासु श्यामनिशासु पीततमसो मुक्तामयीश्चन्द्रिकाः पीयन्ते विवृतोवंचञ्च विचलत्कण्ठं चकोराङ्गनाः॥" सतोऽपि क्रियार्थस्यानिवन्धनम् । तद्यथा-दिवा नीलोत्पलाना- मा कासो, निशानिमित्तश्च शेफालिकाकुसुमानामवस्रसः। तत्र प्रथमः-"आलिख्य पत्रमसितागुरुणाभिरामं रामामुखे क्षणसभाजितचन्द्रबिम्बे । जातः पुनर्विकसनावसरोऽयमस्ये- त्युक्त्वा सग्बी कुवलयं श्रवणे चकार ॥" द्वितीयः- "त्वद्विपयोगे किरणैस्तथोप्रै- दग्धाऽस्मि कृत्लं दिवसं सवित्रा। इतीव दुःखं शशिने गदन्ती शेफालिका रोदिति पुष्पबाष्पैः ॥” नियमस्तु तद्यथा--ग्रीष्मादौ सम्भवतोऽपि कोकिलानां विरुतस्य वसन्त एव, मयूराणां वर्षाखेव विस्तस्य नृत्तस्य च निबन्धः । तयोः प्रथम:--"वसन्ते शीतभीतेन कोकिलेन वने रुतम् । अन्तर्जलगताः पद्माः श्रोतुकामा इवोत्थिताः ॥" द्वितीयः-"मण्डलीकृत्य बोणि कण्ठैर्मधुरगीतिभिः। कलापिनः प्रनृत्यन्ति काले जीमूतमालिनि ॥" कवीनां समयः सोऽयं जातिव्यक्रियागतः। गुणस्थोऽथ ततः स्वर्यः पालोयश्च कथ्यते ॥ इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे जातिव्यक्रियासमयस्थापना चतुर्दशोऽध्यायः ॥ 15 20 : 25 १ A मवि. २ C गुणस्थैष.

·कविरहस्ये पञ्चदशोऽध्यायः । ८३ - 5 10 पञ्चदशोऽध्यायः : गुणसमयस्थापना। असतो गुणस्य निबन्धनम् । यथा-यशोहासप्रभृतेः शौल्यम्, अयशसः पापप्रभृतेश्च काय, क्रोधानुरागप्रभृतेश्च रक्तत्वम् । तत्र यशःशौल्यम्- "स्तेमः स्तोकोऽपि नाङ्गे श्वसितमविकलं चक्षुषां सैव वृत्ति- मध्येक्षीराब्धि मग्नाः स्फुटमथ च वयं कोऽयमीहक्प्रकारः। इत्थं दिग्भितिरोधक्षतविसरतया मांसलैस्त्वद्यशोभिः स्तोकावस्थानदुःस्थैस्त्रिजगति धवले विस्मयन्ते मृगाक्ष्यः॥" हासशील्यम्-"अट्टहासच्छलेनास्याद्यस्य फेनौघपाण्डुराः। जगत्क्षय इवापीताः क्षरन्ति क्षीरसागराः॥" अयश:कृष्णत्वम्- "प्रसरन्ति कीर्तयस्ते तव च रिपूणामकीर्तयो युगपत् । कुवलयदलसंवालेताः प्रतिदिनमिव मालतीमालाः ॥" पापकार्ण्यम्-"उत्वातनिर्मलमयूखकृपाणलेग्वा- श्यामायिता तनुरभूद्धयकन्धरस्य । सद्यःप्रकोपकृतकेशववंशनाश- सङ्कल्पसंजनितपापमलीमसेव ॥" क्रोधरक्तता-"आस्थानकुहिमतलप्रतिबिम्बितेन कोपप्रभाप्रसरपाटलविग्रहेण । भौमेन मूर्चिछतरसातलकुक्षिभाजा भूमिश्चचाल चलतोदरवर्तिनेव ॥" अनुरागरक्तता यथा-"गुणानुरागमिश्रेण यशसा तव सर्पता। दिग्वधूनां मुग्वे जातमकस्मादर्द्धकुङ्कुमम् ॥" सतोऽपि गुणस्यानिबन्धनम् । कुन्दकुझलानां कामिदन्तानां च रक्तत्वं, कमलमुकुलप्रभृतेश्च हरितत्वं, प्रियङ्गुपुष्पाणां च पीतत्वम् । 25 15 20 १ V स्याः पश्य. २ V प्रतिदिशमिव. ३ V चलनो.

·काव्यमीमांसायाम् 5 10 कुन्दकुडालाधरक्तता- "द्योतितान्तःसभैः • कुन्दकुड्मलाग्रदतः स्मितैः । स्लपितेवाभवत्तस्य शुद्धवर्णा सरस्वती ॥" पद्ममुकुलाहारेतत्वर- "उद्दण्डोदरपुण्डरीकमुकुलभ्रान्तिस्पृशा दंष्ट्रया मग्न लावणसैन्धवेऽम्भसि महीमुद्यच्छतो हेलया। तत्कालाकुलदेवदानवकुलैरुत्तालकोलाहलं शौरेरादिवराहलीलमवताद्मलिहाग्रं वपुः॥" प्रियङ्गुपुष्पापीतत्वम्-"प्रियङ्गुश्याममम्भोधिरन्ध्रीणांस्तनमण्डलम् । अलङ्कर्तुमिव स्वच्छाः सूते मौक्तिकसम्पदः॥" गुणनियमस्तु तद्यथा-सामान्योपादाने माणिक्यानां शोणता, पुष्पाणां शुक्लता, मेघानां कृष्णता च । तत्र प्रथमः-"सांयात्रिकैरविरतोपहृतानि कूटैः श्यामासु तीरघ(व)नराजिषु सम्भृतानि । रत्नानि ते दधति कचिदिहायताक्षि मेघोदरोदितदिनाधिपधिम्बशङ्काम् ॥" पुष्पशुक्लता- “पुष्पं प्रवालोपहितं यदि स्या- न्मुक्ताफलं वा स्फुटविद्रुमस्थम् । ततोऽनुकुर्याविशदस्य तस्या- स्ताम्रौष्टपर्यस्तरुचः स्मितस्य ॥" मेघकाष्र्ण्यम्-"मेघश्यामेन रामेण पूतवेदिर्विमानराट् । मध्ये महेन्द्रनीलेन रत्नराशिरिवार भौ ॥" कुष्णनालयोः, कृष्णहरितयोः, कृष्णश्यामयोः, पीतरक्तयोः, शुक्लगौरयोरेकत्वेन निबन्धनं च कविसमयः । कथम् । कृष्णनी- 25 लयोरैक्यम्- "नदी तुर्ण कर्णोप्यनुसृतपुलिनां दाक्षिणात्याङ्गनाभिः समुत्तीर्णो वर्णामुभयतटच(त)लाबद्धवानारहाराः । १CB पद्ममुकुलाना हरितत्वं. २ V दानवनुतै.. 15 20 ·कविरहस्ये पञ्चदशोऽध्यायः । 10 तटे सह्यस्योचैः स्वसलिलनिवह भाति नीलः स यस्याः प्रियस्यांसे पीने लुलित इव घनः केशपाशः सुकेश्याः॥" सुष्पाहारतयोरवयम्-"मरकतसदृशं च यामुनं स्फटिकशिलाविमलं च जाहवम् । तदुभयमुदकं पुनातु वो हारेहरयोरित सङ्गतं वपुः ॥" कुष्णश्यामलयोरैक्यम्- "एतत्सुन्दरि नन्दनं शशिमणि स्निग्धालवालद्रुमं मन्दाकिन्यभिषिक्तमौक्तिकशिले मेरोस्तटे नन्दति । यत्र श्यामनिशामु मुश्चति मिलन्मन्दप्रदोषानिला- मुद्दामामरयोषितामभिरतं कल्पद्रुमश्चन्द्रिकाम् ॥" पीतरक्तयोरैक्यम्- "लेखया विमलविद्रुमभासा सन्ततं तिमिरमिन्दुरुदासे । दंष्ट्रया कनकभङ्गपिशङ्ग्या मण्डलं भुव इवादिवराहः ॥" शुक्लगौरयोरैक्यम्-“कैलासगौरं वृषमारुरुक्षोः पादार्पण नुग्रहपूतपृष्ठम् । अवेहि मां किङ्करमष्टमूर्तेः कुम्भोदरं नाम निकुम्भपुत्रम् ॥" एवं वर्णान्तरेष्वपि । चक्षुरादेरनेकवर्णोपवर्णनम् । तत्र चक्षुषः शुक्लता- "तिष्ठन्त्या जनसङ्कुलेऽपि सुदृशा सायं गृहप्राङ्गणे तद्वारं मयि निःसहालसतनौ वीङ्खामृर्दु प्रेवति । हीनम्राननयैव लोलसरलं निःश्वस्य तत्रान्तरे प्रेमााः शशिखण्डपाण्डिममुषो मुक्ताः कटाक्षच्छटाः॥" श्यामता-"अथ पथि गमयित्वा रम्यक्तृप्तोपकार्ये कतिचिदवनिपालः शर्वरीः शर्वकल्पः। पुनरविशदयोध्यां मैथिलीदर्शिनीनां कुवलयितगवाक्षां लोचनैरङ्गनानाम् ॥" १ B वीलां मृदुः २ V पुरभविशदयोध्या. 15 20 25 ·८६, काव्यमीमांसायाम् कृष्णता-"गन्यासकाणतरशनास्तत्र लीलावधूत- रत्नच्छायाखचितवलिभिश्चामरैः क्लान्तहस्ताः। नयावतो नखपदसुखान्याप्य वर्षाग्रबिन्दू- नामोक्ष्यन्ते त्वयि मधुकरश्रेणिदीर्घान्कटाक्षान् ॥" 6 मिश्रवर्णता-"तामुत्तीर्य व्रज परिचितधृलताविभ्रमाणां पक्ष्मोत्क्षेपादुपरि विलसत्कृष्णशारप्रभाणाम् । कुन्दक्षेपानुगमधुकरश्रीमुगामामबिम्ब पात्रीकुर्वन्दशपुरवधूनेत्रकौतूहलानाम् ॥" इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे गुणसमयस्थापना पञ्चदशोऽध्यायः ॥ 10 15 षोडशोऽध्यायः खर्ग्यपातालीयकविरहस्यस्थापना । भौमवत्स्वग्र्योऽपि कविसमयः। विशेषस्तु चन्द्रमसि शशहरिण- योरक्यः । यथा-"मा भैः शशाङ्क मम सीधुनि नास्ति राहुः खे रोहिणी वसति कातर किं बिभेषि । प्रायो विदग्धवनितानवसङ्गमेषु पुंसां मनः प्रचलतीति किमत्र चित्रम् ॥” यथा च-"अङ्काधिरोपितमृगश्चन्द्रमा मृगलाञ्छनः। केसरी निष्ठुराक्षिप्तमृगयूथो' मृगाधिपः ॥” 20 कामकेतने मकरमत्स्ययोरैक्यं यथा "चापं पुष्पमयं गृहाण मकरः केतुः समुच्छ्रीयता चेतोलक्ष्यभिदश्च पश्च विशिखाः पाणी पुनः सन्तु ते । दग्धा कापि तवाकृतेः प्रतिकृतिः कामोऽसि किं गृहसे रूपं दर्शय नात्र शङ्करभयं सर्वे वयं वैष्णवाः॥" 25 यथा च "मीनध्वजस्त्वमसि नो न च पुष्पधन्वा केलिप्रकाश तय मन्मथता तथापि । इत्थं त्वया विरहितस्य मयोपलब्धाः कान्ताजन च जननाथ चिरं विलापाः॥" १B पूगो.

·कविरहस्ये षोडशोऽध्यायः । 5 10 यथा वा-"आपातमारुतविलोडितसिन्धुनाथो हात्कारभीतपरिवर्तितमत्स्यचिह्नाम् । उल्लङ्घय यादवमहोदधिभीमवेलां द्रोणाचलं पवनसूनुरिवोद्धरामि ॥" अत्रिनेत्रसमुद्रोत्पन्नचन्द्रयोरक्यम्- "वन्द्या विश्वसृजो युगादिगुरवः स्वायम्भुवाः सप्त ये तत्रात्रिर्दिवि सन्दधे नयनजं ज्योतिः स चन्द्रोऽभवत् । एका यस्य शिखण्डमण्डनमणिर्देवस्य शम्भोः कला शेषाभ्योऽमृतमाप्नुवन्ति च सदा स्वाहास्वधाजीविनः॥" यथा चं-"यदिन्दोरन्वेति व्यसनमुदयं वा निधिरपा- मुपाधिस्तत्रायं जयति जनिकर्तुः प्रकृतिता। अयं कस्सम्बन्धो यदनुहरते तस्य कुमुदं विशुद्धाः शुद्धानां ध्रुवमनभिसन्धिप्रणयिनः ॥" बहुकालजन्मनोऽपि शिवचन्द्रमसो बालत्वम् । "मालायमानामरसिन्धुहंसः कोटीरवल्लीकुसुमं भवस्य । दाक्षायणीविभ्रमदर्पणश्रि बालेन्दुखण्डं भवतः पुनीतात् ॥” कामस्य[मूर्तत्वम] मूर्त्तत्वं च यथा- "अयं स भुवनत्रयप्रथितसंयमः शङ्करो बिभर्ति वपुषाऽधुना विरहकातरः कामिनीम् । अनेन किल निर्जिता वयमिति प्रियायाः करं करेण परिताडयन् जयति जातहासः स्मरः॥" यथा च-"धनुर्माला मौर्वी कणदलिकुलं लक्ष्यमबला- मनोभेचं शब्दप्रभृति य(तय) इमे पश्च विशिखाः। 25 इयान् जेतुं यस्य त्रिभुवनमनङ्गस्य विभवः स वः कामः कामान्दिशतु दयितापाङ्गवसतिः॥" १ B कृता. २ V adds this verse after the verse वन्द्या ३ ABC मूर्तस्वं च, 15 - 20 ·काव्यमीमांसायाम् 10 , द्वादशानामप्यादित्यानामैक्यम्- “यस्याधोऽधस्तथोपर्युपरि निरवधि भ्राम्यते विश्वमश्चै- रवृत्तालातलोलां रचयति रयतो मण्डलं चण्डधान्नः। सोऽब्यादुकाबारलशरस्पर्द्धिभिर्धामदण्डै- रुद्दण्डैः प्रापयन्वः प्रचुरतमतमःस्तोममस्तं समस्तम् ॥” नारायणमाधवयोश्च यथा- "येन ध्वस्तमनोभवेन बलिजित्कायः पुरस्त्रीकृतो यो गङ्गां च दधेऽन्धकक्षयकरो यो बर्हिपत्रप्रियः। यस्याहुः शशिमच्छिरोहर इति स्तुत्यं च नामामराः सोऽव्याद(2)ष्टभुजङ्गहारवलयस्त्वां सर्वदोमाधवः ॥" एवं दामोदरशेषकूर्मादेः, कमलासम्पदोश्च । यथा- "दोमन्दी(न्दे)रितमन्दरेण जलधेरुत्थापिता या स्वयं यां भूत्वा कमठः पुराणककुदन्यस्तामुदस्तम्भयत् । तां लक्ष्मी पुरुषोत्तमः पुनरसौ लीलाश्चितभ्रूलता- निर्देशैः समवीविशत्मणयिनां गेहेषु दोष्णि क्षितिम् ॥" भौमखर्यवत्पातालीयोऽपि कविसमयः। तत्र नागसर्पयोरैक्यम्- "हे नागराज बहुमस्य नितम्बभागं भोगेन गाढमभिवेष्टय मन्दराद्रेः । सोढाविषयवृषवाहनयोगलीला- पर्यङ्कबन्धनविधेस्तव कोऽनिभारः॥" दैत्यदानवासुराणामैक्यम् । यथा-तत्र हिरण्याक्षहिरण्यकाg- प्रह्लाद विरचनबलिबाणादयो दैत्याः, विप्रचित्तिशम्बरनमुचिपुलोम- प्रभृतयो दानवाः, वलवृत्रविक्षुरस्तवृषपर्वादयोऽसुराः। तेषामैक्यं यथा-"जयन्ति बाणासुरमौलिलालिता दशास्यचूडामणिचक्रचुम्बिनः । सुरासुराधीशशिखान्तशायिनो भवच्छिदस्यम्बकपादपांसवः॥" १Cसोऽव्यादिष्ट.. २ BC विक्षुरवृषपर्वादयो. 16 20 , 25

·कविरहस्ये सप्तदशोऽध्यायः ।
5
यथा च-"तं शम्बरासुरशराशानेशल्यसारं
यूरातकिरणारणाहुण्डम् ।
पीनांसलग्नदयिताकुचपत्रभङ्गं
मीनध्वज जितजगड़ितयं जयेत्कः ॥"
यथा च-"अस्ति दैत्यो हयग्रीवः सुहृद्वेश्मसु यस्य ताः।
प्रथयन्ति बलं बालोः पितच्छत्रस्मिताः श्रियः॥"
यथा च हयग्र प्रति-
"दानवाधिपते भूयो भुजोऽयं किं न नीयते ।
सहायतां कृतान्तस्य क्षयाभिप्रायसिद्धिषु ॥"
यथा च "महासुरसमाजेऽस्मिन् न चैकोऽप्यस्ति सोऽसुरः।
यस्य नाशनि निष्पेषनीराजितमुरःस्थलम् ॥"
एवमन्येपि भेदाः-सोऽयं कवीनां समयः काव्ये सुप्त इव स्थितः ।
स साम्प्रतमिहास्माभिर्यथाबुद्धि विबोधितः।
इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे
स्वर्गापातालीयकविरहस्यस्थापना पोडशोऽध्यायः ॥
10
15
सप्तदशोऽध्यायः देशविभागः ।
देशं कालं च विभजमानः कविर्नार्थदर्शनदिशि दरिद्वाति ।
जगज्जगदेकदेशाश्च देशः। “द्यावापृथिव्यात्मकमेकं जगत्" इत्येके ।
तदाहु:-"हलमगु बलस्यैकोऽनडान्हरस्य न लागलं
क्रमपरिमिता भूमिर्विष्णोर्न गौर्न च लाङ्गलम् ।
प्रवहति कृषि द्याप्येषां द्वितीयगवं विना
जगति सकले नेहरदृष्टं दरिद्रकुटुम्बकम् ॥"
"दिवस्पृथिव्यौ द्वे जगती” इत्यपरे ।
20
१ BV सारके. २V आसीद. ३C महासुरसमाजेषु. ४C निष्पोष०, ५V प्रभवति.
१२

·९० काव्यमामांसायाः 5 सदाहु:-"रुणद्धि रोदसी वा(चा)स्य यावत्कीर्ति नश्वरी। तावकिलायमध्यास्ते सुकृती वैबुधं पदम् ॥" "स्वय॑मर्त्यपातालभेदात्रीणि जगन्ति" इत्येके । यदाहु:-"त्वमेव देव पातालमाशानां त्वं निबन्धनम् । त्वं चामरमरुद्भूमिरेको लोकत्रयायसे ॥" "तान्येव भूर्भुवःखः" इत्यन्ये । तदाहुः-"नमस्त्रिभुवनाभोगभृतिखेदभरादिव.। नागनाथाङ्गपर्यः:शायिने शाङ्गधन्वने ॥" "महर्जनत्तपःसत्यमित्येतैः सह सप्त” इत्यपरे । 10 तदाहु:- "तारनी पृथुनितम्बतटैर्धरित्र्याः संवाहिनी जलमुचां चलकेतुहस्तैः। हर्षस्य ससभुवनप्रथितोरुकीर्तेः प्रासादपङ्किरियमुच्छिखरा विभाति ॥" "तानि सप्तभिर्वायुस्कन्धैः सह चतुर्दश” इति केचित् । 15 तदाहु:- "निरवधि च निराश्रयं च यस्य स्थितमनुवतितकी कापश्चम् । प्रथम इह भवान्स कूर्ममूर्ति- जयति चतुर्दशलोकवल्लिकन्दः॥" "तानि सप्तभिः पातालैः सहकविंशतिः" इति केचित् । 20 तदाहु:-"हर सहरावासहरहारनिभमभाः। कीर्तयस्तव लिम्पन्तु भुवनान्येकविंशतिः ॥" "सर्वमुपपन्नम्" इति यायावरीयः। अविशेषविवक्षा य कयारे विशेषविवक्षात्वनेकयति । तेषु भूर्लोकः पृथिवी । तत्र सप्त महा- द्वीपाः। 26 "जम्बूद्वीपः सर्वमध्ये ततश्च प्लक्षो नाना शाल्मलोऽतः कुशोऽतः कौशः शाकः पुष्करथेत्यथैषां पाला बाया संस्थितिमण्डलीभिः। १V वर्गमत्यु.. २V लोकत्रयात्मका. ३५ भोगधति.. V शापन्विने. ५V स्थितमनिवर्तित..

·कविरहस्ये सप्तदशोऽध्यायः । ९१ 10 15 लावणो रसमयः सुरोदकः सार्षिक दधिजला पयापया। खादुवारिरुदधिश्च सप्तमस्तान्परीत्य त इमे व्यवस्थिताः॥" "एक एवायं लावणः समुद्रः" इत्येके । तदाहुः-"दीपान्यष्टादशात्र क्षितिरपि नवभिर्विस्तृता स्वाङ्गखण्ड- रेकोऽम्भोधिर्दिगन्तावितः लिलाप्राज्यमेतत्सुराज्यम् । कमिन्नप्याजिकेलिव्यतिकरविजयोपार्जिते वीरव(च)यें चक्रे पुञ्जेन दातुं तदिदमिति धिया वेधसे यश्चकोप ॥" "त्रयः" इत्यन्ये तदाहुः- “आकम्पितक्षितिभृता महता निकामं हेलाभिभूतजलधित्रितयेन यस्य । वीर्येण संहतिभिदा विहतोन्नतेन कल्पान्तकालविसृतः पवनोऽनुचक्रे ॥" यथा वा-"मातङ्गानामभावे मदमलिनमुखैः प्रासमाशाकीन्द्रः जाते रत्नापहारे दिशि दिशि ततयो भान्ति चिन्तामणीना। छिन्ने धानवापोतरुषु विरचिताः कल्पवृक्षा रिपूणां यस्योदश्चत्रिवेलावलयफलभुजां मानसी सिद्धिरासीत् ॥" "चत्वारः” इत्यपरे। तदाहु:-"चतुःसमुद्रवेलोर्मिरचितकावलीलतम् । मेरुमप्यद्रिमुल्लङ्घय यस्य कापि गतं यशः॥" "भिन्नाभिप्रायतया सर्वमुपपन्नम्" इति यायावरीयः। सप्तसमु-20 दीवादिनस् शास्त्रादनपेता एव । तदाहु:-"यचु कोचिटवारिधेवारिणि । मुहर्त केशवेनापि तेदन्तः पूतरायितम् (१)॥ "कविप्रसिद्ध्या वाऽविमृष्टपरमार्थ सर्वमुपपन्नः" (इति या- गवरीयः।) मध्येजम्बूद्वीपमाद्यो गिरीणां मेरु ना काश्चनः शैलराजः । यो मूर्ती(योऽमा)नामौषधीनां निधानं यश्चावासः सर्ववृन्दारकाणाम् ॥ २० पर्याप्तं मे न दातुः ३ V विहितो०. ४V अगस्त्यचुलकोक्षिप्त. ५V तरता पूतरायितम्. ६V adds here this line. 25 १V प्रसुमर..

·- काव्यमीमांसायाम् तमेनमवधीकृत्य देवेनाम्बुजजन्मना । तिर्यगूर्वमधस्ताच विश्वस्य रचना कृता ॥ स भगवान्मेरुरायो वर्षपर्वतः। तस्य चतुर्दियामला वर्षम् । तस्योत्तरेण त्रयो वर्षगिरया, नीलः श्वेतः शृङ्गवांश्च । रम्यकं, । हिरण्मयम्, उत्तराः कुरव इति च क्रमेण त्रीणि तेषां वर्षाणि । दक्षिणेनापि त्रय एव निषधो हेमकूटो हिमवांश्च । हरिवर्ष, किं- पुरुषं, भारतमिति च त्रीणि वर्षाणि । तत्रेदं भारतं वर्षम् । अस्य च नव भेदाः । इन्द्रद्वीपः, कसेरुमान, ताम्रपर्णो, गभस्तिमान् , नाग- द्वीपः, सौम्यो, गन्धर्वो, वरुणः, कुमारीद्वीपश्चायं नवमः। पशताति 10जलं, पञ्च स्थलमिति विभागेन प्रत्येकं योजनसहस्रावधयो दक्षिणा- सद्वादतिराज हिमवन्तं यावत्परस्परमगम्यास्ते । तान्येतानि यो जयति स सम्राडित्युच्यते। कुमारीपुरात्प्रभृति विन्दुसरोऽवधि योज- नानां दशशती चक्रवर्तिक्षेत्रम् । तां विजयमानश्चक्रवर्ती भवति । चक्रवर्तिचिह्नानि तु-"चक्रं रथो मणिर्भार्या निधिरश्वो गजस्तथा । प्रोक्तानि सप्त रत्नानि सर्वेषां चक्रवर्तिनाम् ॥" अत्र च कुमारीद्वीपे-"विन्ध्यश्च पारियात्रश्च शुक्तिमानृक्षपर्वतः। महेन्द्रसह्यमलयाः सप्तैते कुलपर्वताः ॥" तत्र विन्ध्यादयः प्रतीतखरूपाः। मलयावशेषात् चत्वारः। तेषु प्रथमः- "आ मूलयष्टेः पापवेष्टितानां सच्चन्दनानां जननन्दनानाम् । ककोलकैलामरिचैर्युतानां मनोरणां च स जन्मभूमिः॥” द्वितीयः “यस्योत्तमा मधेनु- रुपत्याचति ताम्रपर्णी । रत्नेश्वरो रत्नमहानिधानं कुम्भोद्भवस्तं मलयं पुनाति ॥ 15 20 25 VA and VB १ A and V B ब्रह्मणा पुण्यकर्मणा. २ Vवर्षमन्त्यमस्य च. drop अद्रिराजं. ४ V कुमारीद्वीपे च.

·कविरहस्ये सप्तदशोऽध्यायः । 5 10 16 तत्र द्रुमा ।दुमनामधेया वंशेषु मुक्ताफलजन्म तत्र । मदोत्कटैः केसरिकण्ठनादैः स्फुटन्ति तस्मिन्धनसारवृक्षाः॥" तृतीयः-"विलासभूमिः सकलामराणां पदं नृणां गौमुनिपुङ्गवस्य । स्दाफलैः पुष्पलताप्रवालै- राश्चर्यमूलं मलयः स तत्र ॥” चतुर्थः-“सा तत्र चामीकारतचित्र: प्रासादमालावलभीविटकैः । द्वारार्गलाबद्धसुरेश्वराङ्का लङ्केति या रावणराजधानी ।। प्रवर्तते कोकिलनादहेतुः पुष्पप्रसूः पञ्चमजन्मदायी। तेभ्यश्चतुभ्योऽपि वसन्तमित्र- मुदङ्मग्यो दक्षिणमातरिश्वा ।।" पूर्वापरयोः समुद्रयोहिमवद्विन्ध्ययोश्चान्तरमार्यातः । तस्मि- चातुर्वर्ण्य चातुराश्रम्यं च । तन्मूलश्च सदाचारः । तत्रत्यो व्यवहारः प्रायेण कवीनाम् । तत्र वाराणस्याः पुरतः पूर्वदेशः। यत्राङ्गकलिङ्गकोसलतोसलोत्क-20 लमगधमुद्गरविदेहनेपालपुण्ड्रप्राग्ज्योतिषताम्रलिप्तकमलदमल्लवर्तक- सुमब्रह्मोत्तरप्रभृतयो जनपदाः । बृहद्गृहलोहितगिरिचकोरद१रनेपा- लकामरूपादयः पर्वताः। शोणलौहित्यौ नदी। गङ्गाकरतोयाकपि- शाद्याश्च नद्यः । लवलीग्रन्थिपर्णकागुरुद्राक्षाकस्तुरिकादीनामुत्पादः । माहिष्मत्याः परतो दक्षिणापथः । यत्र महाराष्ट्रमाहिषकाश्म-25 कविदर्भ न्तलक्रथकैशिकसूरककाञ्चीकेरलकावेरमुरलवानवाक- सिलचोर्डदण्डकपाण्ड्यपल्लवगाङ्गनासिक्यकोणकोलपिविल्लार- (ल)प्रभृतयो जनपदाः। विन्ध्यदक्षिणपादमहेन्द्रमलयमेकलपालम- १८ पुष्पलतावितानः. २VA परतः. ३ V मलजद. ४. माहिष्मक. ५V वैदर्भ. ६V चौड. V वेल्लर. A वल्लर, ·९४ काव्यमामांसाया 15 ॐ सयश्रीपर्वतादयः पर्वताः । नर्मदातापीपयोष्णीगादावरीका- रीभैमरथीवेणा ष्णवेणाव रातुङ्गभद्रोता: पर्णस्पलावतारायणग- गाद्या नद्यः। तदुत्पत्तिर्मलयोत्पत्त्या व्याख्याता। देवसभायाः परतः पश्चादेशः। तत्र देवसभसुराष्ट्रदशेरकत्रव- णभृगुकच्छकच्छीयान व॑दब्रामणवाहयवनप्रभृतयो जनपदाः । गोवर्धनगिारनगरदेसभमाल्यशिखराबंदादयश्च पर्वताः । सरख- तीश्वभ्रवतीवानीमहीतिवाद्या नद्यः । करीरपीलुगुग्गुलुखर्जू- रकरभादीनामुत्पादः। पृथूदकात्परत उत्तरापथः। यत्र शककेकयवोकाणहणाणायुज- 10 काम्बोजवाहीकवलवलिम्पाककुलूतकीरतङ्गणरेषारतुरुष्कर्षरहरहू- रवहहुकसहुडहंसमार्गरमठकरकण्ठप्रमृतयो जनपदाः । हिमालयक- लिन्देन्द्रकीलचन्द्राचलादयः पर्वताः । गङ्गासिन्धुसरखतीशतद्रुचन्द्र- भागायमुनेरावतीवितस्ताविपाशाकुहृदेविकाद्या नद्यः। सरलदेवदारु- द्राक्षाकुङ्कुमचमराजिनसौवीरस्रोतोञ्जनसैन्धववैदृर्यतुरगाणामुत्पादः। तेषां मध्ये मध्यदेश इति कविव्यवहारः । न चायं नानुगन्ता शास्त्रार्थस्य । यदाहु:-"हिमवद्विन्ध्ययोर्मध्यं यत्नाग्विनशनादपि । प्रत्यगेव प्रयागाच मध्यदेशः प्रकीर्तितः॥" तत्र च ये देशाः पर्वताः सरितो द्रव्याणामुत्पादश्च तत्प्रसिद्धि- 20 सिद्धमिति न निर्दिष्टम् । द्वीपान्तराणां ये देशाः पर्वताः सरितस्तथा । नातिमय ज्याः कविभिरिति गाढं न चिन्तिताः॥ "विनशनप्रयागयोगङ्गायमुनयोश्चान्तरमन्तर्वेदी(दि)। तदपेक्षया दिशो विभजेत” इत्याचार्याः । “तत्रापि महोदयं मूलमवधीकृत्य" 25 इति यायावरीयः । "अनियतस्वादिशामनिश्चितो दिग्विभागः" इत्येके। तथा हि यो वामनवामिनः पूर्वः स ब्रह्मशिलायाः पश्चिमः, यो गाधिपुरस्य दक्षिणः स कालप्रियस्योत्तर इति । “अवधिनिबन्ध- नमिदं रूपमितरत्वानियतमेव" इति यायाव यः। “प्राच्यवाची- पतीच्युर: चतस्रो दिशः" इत्येके । १V भैमरवीवेणीकृष्णवेणी. २V ताम्रपर्णीपलावती. ३V हिण्डिवा. ६V हिमालयजालन्धर. ४V वनायुज- कम्बोज. ५ V तुवार.

·10 कविरहस्ये सप्तदशोऽध्यायः । ९५ तदाहु:-"चतसृष्वपि दिक्षु रणे द्विषतःप्रति येन चित्रचरिगेन । विहितमपूर्वमदक्षिणमपश्चिममनुत्तरं कर्म ॥" "ऐन्द्री, आग्नेयी, याम्या, नैरृती, वारुणी, वायव्या, कौवेरी, ऐशानी चाष्टौ दिशः" इत्येके । तदाहु:-"एकं ज्योतिर्दशौ हे त्रिजगति गादेताब्जजास्यैश्चतुर्भि-5 भूतानां पञ्चमं यान्यलन्तुषु तथा षट्सु नानाविधानि । युष्माकं तानि सप्त त्रिदशनेनुताष्टदिग्भाजि भानो- र्यान्ति प्राढे नवत्वं दश धतु शिवं दीधितीनां शतानि ॥" "ब्रानी नागीया च हे । ताभ्यां सह दशैताः” इत्यपरे । तदाहु:-"दशदिक्तटपर्यन्तसीमसङ्कटभूमिके। विषमा स्थूललक्ष्यस्य ब्रह्माण्डग्रामके स्थितिः॥" सर्वमस्तु, विवक्षापरतत्रा हि दिशामियत्ता। तत्र चित्राखात्यन्तरे प्राची, तदनुसारेण प्रतीची, ध्रुवेणोदीची,तदनुसारेणावाची, अन्तरेषु विदिशः, ऊर्ध्वं ब्राह्मी, अधस्तान्नागीयेति । द्विविधो व्यवहारः कवीनां प्राकसिद्धो विशिष्टस्थानावधिसाध्यश्च । तत्र प्रासिद्धे ।। प्राची- " द्वियोनि पुराणमौक्तिकमाणच्छार : स्थितं तारकै- ज्यालापानभरालसेन वपुषा सुप्ताश्चकोराङ्गनाः। यातोऽस्ताचलचूलमुद्समधुच्छनच्छश्चिन्द्रमाः प्राची बालबिडाललोचनरुचां जाता च पात्रं ककुप् ॥" दक्षिणा-"दक्षिणो दक्षिणामा यिासुः सोऽधिकं बभौ । जिहासुदक्षिणामाशां भगवानिव भास्करः॥" पश्चिमा "पश्य पश्चिमदिगन्तलम्बिना निर्मितं मितकथे विवखता । दीर्घया प्रतिमया सरोम्भस- तापनीयमिव सेतुबन्धनम् ॥ 20 25 १VA दशदिकूट०. २V द्विधा व दिव्यव्यवहारः. ३C प्रसिद्धो. ४V मियासन्. ५V जिहासम्.

·९६ काव्यमीमांसायाम् उत्तरा "अस्त्युत्तरस्यां दिशि देवतात्मा हिमालयो नाम नगाधिराजः। पूर्वापरी तोयनिधी विगाह्य स्थितः पृथिव्या इव मानदण्डः ॥" विशिष्ट स्थानावधौ तु दिग्विभागे पूर्वपश्चिमी यथा- "यादांसि हे चरत संगतगोत्रत पूर्वेण चन्दनगिरेरुत पश्चिमेन । नो चेन्निरन्तरधराधरसेतुसूति- राकल्पमेष न विरंस्यति वो वियोगः॥ 10 दक्षिणोत्तरी यथा-"काच्याः पुरो दक्षिण दिग्विभागे तथोत्तरस्यां दिशि वारिराशेः। कर्णान्तचक्रीकृतचारुचापो रत्या समं साधु वसत्यनङ्गः ॥” उत्तरादावप्युत्तरदिगभिधानं, अनुत्तरादावप्युत्तरदिगभिधानम् । 15 तयोः प्रथमम्-"तत्रागारं धनपतिगृहानुत्तरेणास्मदीयं दूराल्लक्ष्यं सुरपतिधनुश्वारुणा तोरणेन । यस्योद्याने कृतकतनयः कान्तया वर्द्धितो मे हस्तप्राप्यः स्तबकविनतो बालमन्दारवृक्षः ॥" द्वितीयम्--"सह्याद्ररुत्तरे भागे यत्र गोदावरी नदी । पृथिव्यामिह कुत्स्लायां स प्रदेशो मनोरमः ॥" एवं दिगन्तरेष्वपि । तत्र देशपर्वतनद्यादीनां दिशां च यः क्रमस्तं तथैव निबनीयात् । साधारणं तूभयत्रं लोकप्रसिद्धितश्च । तद्वद्वर्णनियमः। तत्र पौरस्त्यानां श्यामो वर्णः, दाक्षिणात्यानां कृष्णः, पाश्चात्यानां पाण्डः, उदीच्यानां गौरः, मध्यदेश्यानां 25 कृष्णः श्यामो गौरश्च । पौरस्त्यश्यामता-"श्यामेष्वङ्गेषु गौखना सूत्रहारैकहारिए। नोकर धनु: पौष्पमनङ्गो वल्गु वल्गति ।" 20 , १B पुष्प. २B तो.

·5 कविरहस्ये सप्तदशोऽध्यायः। दाक्षिणात्यःणती-"इदं भासां भादुर कनकपालभातिकृति क्रमान्मन्दज्योतिर्गलति नभसो बिम्बवलयः । अथैष प्राचीतः सरति मुरडमालि- स्तरुच्छायाचः स्तबकित इव ध्वान्तविसरः॥" पाश्चात्यपाण्डुता-"शाखास्मेरं मधुकवलनाकेलिलोलेक्षणानां भृङ्गस्त्रीणां बकुलमुकुलं कुन्तलीभावमेति । किं चेदानीं यवनतरुणीपाण्डुगण्डस्थलीभ्यः कान्तिः स्तोकं रचयति पदं नागवल्लीच्छदेषु॥" उदीच्यगौरता-"पुष्पैः सम्प्रति काञ्चनारतरवः प्रत्यङ्गमालिङ्गिताः वाल्हीकीदशनवणारुणतरैः पत्रैरशोकोऽर्चितः 110 जातं चम्पकमप्युदीच्यललनालावण्यचौर्यक्षम माञ्जिष्ठैर्मुकुलैश्च पाटलतरोरन्यैव काचिल्लिपिः॥" यथा वा-"काश्नारीमानलेश लोलल्लावण्यवीचिषु । द्रावयित्वेव विन्यन्नं स्वर्ण षोडशवर्णकम् ॥" मध्यदेश्यकृष्णता यथा- "युधिष्ठिरक्रोधवः कुरुवंशैकदाहिनः। पाञ्चालीं ददृशुः सर्वे कृष्णां धूमशिखामिव ॥" तद्वन्मध्यदेश्यश्यामता । न च कविमार्गे श्यामकृष्णयोः पाण्ड गौरयोर्वा महान्विशेष इति कावेसमयेष्वनोचाम । मध्यदेश्यगौरता- "तव नवनवनीतपिण्डगौरे प्रतिफलदुत्तरकोसलेन्द्रपुत्र्याः। अवगतमलिके मृगाङ्कबिम्बं मृगमदपत्रनिभेन लाञ्छनेन ॥" विशेषरू पूर्वदेशे राजपुन्यादानां गौरः पाण्डुर्वा वर्णः। एवं दक्षिणदेशेऽपि। तत्र प्रथम:-"कपोले जानक्याः करिकलभदन्तशुतिमुषि स्मरस्मेरः स्फारोडमरपुलकं वक्रकमलः । 15 20 25 १Vप्राचीन: १३ २ V नागवल्लीदलेषु. ३V कोसलेन्दुपुत्रि.. B पुत्रिकायाः ४.A के.

·काव्यमीमांसाया 5 मुहुः पश्यवरजनियरसनाकलकलं जटाजूटग्रन्थि द्रढयति रघूणां परिवृढः॥" द्वितीयः-"तासां माधवपत्नीनां सर्वासां चन्द्रवर्चसाम् । शब्दविद्येव विद्यानां मध्ये जज्वाल रुक्मिणी ॥" एवमन्यदपि यथासम्भवमभ्यूह्यम् । नियादितनयादेपरीत देशादरष्टुं वदन्ति विद्वांसः। तत्पारायं यत्नात्तदुदाहृतयस्तु दोषेषु ॥ इत्थं देशविभागो मुद्रामात्रेण सूत्रितः सुधियाम् । यस्तु जिगीषत्यधिकं पश्यतु मद्भुवनकोशमी ।। इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे देशविभागः सप्तदशोऽध्यायः॥ 10 15 अष्टादशोऽध्यायः कालविभागः । कालः काष्ठादिभेदभिन्नः। तथा च- काष्ठा निमेषा दश पञ्च चैव त्रिंशच काष्टाः कथिताः कैलेति । त्रिंशत्कलश्चैव भवेन्महतस्तस्त्रिंशता रात्र्यहनी समेते ।। ते च चैत्राश्वयुजमासयोर्भवतः। चैत्रात्५ प्रतिमासं मौहर्तिकी विसथाद्धः निशानानिश्च त्रिमास्याः, ततः परं मौहर्तिकी निशा- वृद्धिः दिवसहानिश्च । आश्वयुजात्परतः पुनरेतदेव विपरीतः । राशितो राश्यन्तरसङ्कमणमुष्णभासो मासः, वर्षादि दक्षिणायनं 20 शिशिरागुत्तरायणं ययनः संवत्सर इति सौर मानम् । पञ्चद- हागना पक्षः। वर्द्धमानसोमः शुल्लो, वर्द्धमानःणिमा कृष्ण इति पित्र्यं मासमानः । अमुना च वेदोदितः कृत्लोऽपि क्रिया- कल्पः । पित्र्यमेव व्यत्ययितपक्षं चान्द्रमसः । इ. मार्यावर्तवासि- नः कवयश्च मानमाश्रिताः। एवं च द्वौ पक्षो मासःदी मासा- 2वृतु: । षण्णामृरनां परिवः संवस्त । स च पत्रातिरिति TV adds this line. २V कला तु. ३V सोमरालिमा, वर्षमानसोमणिमा.

·5 10 कविरहस्ये अष्टादशोऽध्यायः । ९९ दैवज्ञाः, श्रवणादिीि लोकयात्राविदः । तत्र नभा नभस्यश्च वर्षाः, इष ऊर्जश्च शरत्, सहः सहस्यश्च हेमन्तः, तपस्तपस्यश्च शिशिरः, मधुर्माधवश्च वसन्तः, शुक्रः शुचिश्च ग्रीष्मः । तत्र "वर्षासु पूर्वो वायुः” इति कवयः। “पाश्चात्या, पौरस्त्यस्तु प्रतिहन्ता" इत्याचार्याः। तबाहु:-"पुरोवाता हता प्रापृट् पश्चाद्वाता हता शरत्" इति । तदाहुः-"मा ष्यम्भोभृताम्भोदभरनिर्भरमम्बरम् । कादम्बकुसुमामोदा वायवो वान्ति वारुणाः॥" "वस् वृत्तिरतनं, कविसमयः प्रमाणम्" इति यायावरीयः । तदाहु:-"रस्तोगतोंः पवन इव पतन्पावकस्येव धूमो विश्वस्येनदेसर्गः प्रणव इव परं पावनं वेदराशेः। सन्ध्यातासवेच्छोरिख मदनरिपोर्नन्दिनान्दीनिनादः सौरस्याग्रे सुखं वो वितरतु विनतानन्दनः स्यन्दनस्य ॥" शरचानयतदित वायुर्यथा- "उषासु वराकृष्टजडावश्यायशीकराः। पालकालिकाकोशकषायामो दिनोऽनिलाः॥" "हेमन्ते पाश्चात्यो वायुः” इत्येके । “उदीच्य” इत्यपरे । "उभयमपि” इति यायावरीयः । तयोः पाश्चात्यः- "भान्भूर्जदुमालीसिमित्येपूरलारत्यकरसता रेवाम्भःलवीचीचयचकितचलच्चातकान् व्याधुनानः। पाश्चात्यो वाति वेगाहुत हिनशिलाशीकरासारवर्षी मातङ्गद ण्णसान्द्रसुतसरलतरत्सारसारी समीरः॥" उदीच्य:- "लम्पाकीनां किन्ताश्चः विरचनां रलकांल्लासयन्तः बन्तश्चन्द्र झालेलमविकलं जकाण्डचण्डाः। एते कर रिकैणप्रणयसुरभयो वल्लभा बाल, वीनां कौस्तीकालकारा परिचयिता में वायवो वान्त दांच्या॥" २V कदम्ब. ३V B& V C विश्वस्येवादिमार्गः. ४VA&V Bखरसारसारी.. ५V B&VC चन्द्रमामा समान् कम्पयन्तः. 16 20 25 V सहा.

·१०० काव्यमीमांसायाम् 5 10 शिशिरेऽपि हेमन्त दुतार: पाश्चात्यो वा । वसन्ते दक्षिणः। तदुक्त "धुन्वंल्लकावनालीमुहुरलकलता लायन्करलोना- मन्ध्रीधम्मिल्लबन्धान्सपदि शिथिलयन्वेल्लयन्नागवल्लीः। उद्दामं दाक्षिणात्यो म(मि)लितमलयजः सारथिर्मीनकेतो. प्राप्तः सीमन्तिनीनां मधुसमयसुहृन्मानचौरः समीरः॥" "आनयतदिको वाीष्मे इत्येके । नैतः" इत्यपरे । “उभय मपि” इति यायावरीयः। तत्र प्रथम:- "वात्याचक्रकचुम्बिताम्बरभुवः स्थूला रजोदण्डकाः संग्रश्नन्ति भविष्यदभ्रपटलस्थूणावितर्क नमः। किं चान्यन्मृगतृष्णिकाम्बुविसरैः पात्राणि वीतार्णसां सिन्धूनामिह सूत्रंयन्ति दिवसेष्वागामिनी सम्पदम् ॥" द्वितीय:-"सोऽयं करैस्तपति वहिमयैरिवार्कः सागसबस्तरभरेव धरा समग्रा । वायुः कुकूलमिव वर्षति नैर्ऋतश्च कार्शानवैरिष शरैर्मदनश्च हन्ति ॥" किश्च- "गर्भान्बलाकासु निवेशयन्तो वंशाङ्कुसबैतिदः सृजन्तः रजोऽम्बुदाः प्रावृषि मुद्यन्तो यात्रोद्यम भूमिभृतां हरन्ति ।। स सल्लपसालशिलीन्ध्रयूथीप्रसूनदः पुष्पितलाङ्गलीक: दग्धोर्वरासुन्दरगन्धवन्धुरर्घत्ययं वारि चामनेहा ॥ बनानि नीलीदलमेचकानि धाराम्बुधौता गिरयः खान्ति । पूराम्भसा भिन्नतटास्तटिन्यः गोपाति च सालाना चकोरहर्षी यतिचारचौरो वियोगिनीवीक्षितनाथवा। गृहान्प्रति प्रस्थितपान्थसार्थः कालोऽयमाध्मातनभाः पयोदैः। या केलिपात्रा करिकामिनीभिर्या रङ्गहानविलासशस्या । चतुःसमं यन्मृगनाभिगर्भ सा वारिदत्तॊः प्रथमातिथेयी॥ १V चुलडा. १V सूब. ३V गर्म. ४v B& VC.किल कामिनीभिः. 15 20 25 ·कविरहस्ये अष्टादशोऽध्यायः । १०१ चलचंटुलचातकः कृतकुरङ्गरागोदयः सद१ररवोद्यमो मदभ प्रगल्भोरगः । शिखण्डियलताण्डवारसदेतमा यो वियोगिषु घनागमः स्म विषं विषं मुश्चति ॥ दलत्कुटजकुमालः स्फुटितनीपपुष्पोत्करो धवप्रसवबान्धवः प्रचितमञ्जरीकार्जुनः । कदम्बकलुषाम्बरः कलितकेतकीकोरक- श्वलनिचुलसञ्चयो हरति हन्त धर्मात्ययः॥" 16 वर्षाः॥ 18 "द्राग्ग(क्तजयन्ती विमदान्मयूरान्प्रगल्भयन्ती कुररद्विरेफान् । 10 शरस्समभ्येति विकास्य पद्मानुन्मीलयन्ती मुदोत्पलाने ॥ सा भाति पुष्पाणि निवेशंयन्ती वन्धूकवाणासनकुङ्कुमेषु । फालिकासप्तपलाशकाशभाण्डीरसौगन्धिकमालतीषु ।। सखञ्जरीटा सपयःप्रसादा सा कस्य नो मानसमाच्छिनात्त । कादम्बकारण्डवचक्रवाकससारसक्रौञ्चकुलानुयाता ॥ उपानयन्ती कलहंसयूथमगस्त्यदृष्ट्या पुनती पयांसि । मुक्तासु शुभं दधती च गर्भ शरद्विचित्रैश्चरितैश्चकास्ति ।। क्षितिं खनन्तो वृषभाः खुराप्रै रोधो विषाणैर्बिरदा रदन्तः । शृङ्गं त्यजन्तो रुरवश्व जीणं कुर्वन्ति लोकानवले कनात्कान् ॥ अत्रावदातद्युति चन्द्रिकाम्बु नीलावभासं च नभः समन्तात् 120 सुरेभवीथी दिवसावतारो जीर्णा खण्डााने च पाण्डुराणि ॥ महानवम्यां शिवपूजा नीराजना वाजिभटाद्वैपाना। नीपालिकायां विविधा विलासा यात्रोन्मुखैरन नृपैर्विधेयाः॥ व्योनि तारतरतारकोत्करः स्यन्दनप्रचरणक्षमा मही। भास्करः शरदि दीपदीधितिर्बुध्यते च सह माधवः सुरैः।। केदार एव कलमाः परिणाममनाः प्राचीनमामलकमति पाकनोल: । १V B प्रोन्मादयन्ती. VC प्रोन्मोदयन्ती. २V B& VC विशेषयन्ती. ३V.मो. भवीमी दिवि सावतारा. ४V B& VC जीर्णाजखेण्डानि. 20 ·6 10 काव्यमामांसायाः एर्वारुक स्टननिर्गतगर्भगन्ध- मम्लीभवन्ति च जरत्रपुसीफलानि ।। गेहाजिर: नवशालिकणावपात- गन्धानुभावसुभगेषु कृषीवलानाम् । आन- यन्ति मुलालिमार धूत- पाणिस्खलबलयपद्धतयो वधूव्यः । तीक्ष्णं वेतपति नीच इवाचिरायः शृङ्गं रुरु वजात मित्रमिवाकृतज्ञः। तोयं प्रसीदति मुनेरिव धर्मचिन्ता कामी दरिद्र इव शोषति पंकम् ।। नद्यो वहन्ति कालक्रमाक्तशुक्ति- रेखाङ्कवालालिनासुप्तकूर्माः । अस्यां तरङ्गितनुतोयपलायमान- मीना.सारिबकदत्तक लिफाल । अपा::लतटावटः शफ फाण्टफालोज्वल: पततररकातरभ्रमददभ्रमीनार्भकः। चुटकलासक्तश्चलंबकटवाचाटितः सरिमाललसंचयः शरदि मेदुरः सीदति ॥" शरत् ॥ "दित्रिगुचुन्दकलिकत्रिचर मुकुलः क्रमेण लवलीषु । पश्चषफलिनांकुरमो जयति हिमनवावतरः॥ सुधागरीभ्रमसवावतंसा वामभुवः कचककुश्चिताजयः। वक्रोल्लसत्कु मासिक्काका सुगन्धतैला कबरीवन्ति ॥ यथा यथा पुष्यति शीतकालर पारघूर्णास्क कोणबात। तथा तथा यौवनशालिनीनां कवोष्णतामत्र कुचा लभन्ते ॥ परा.वाणि नवा नानि दधीनि सन्न शराणि चात्र । कामलाः सषपका लीश्च भुक्तवा जनो नि::ति चविधाः ॥ पित्तं. २V मेषः. ३0 दन्त. ४V सिक्यकाव्याः. ५B वी. A बाणि, V.सानि. 16 20 26 ·कविरहस्से अष्टादशोऽध्यायः । १०३ 5 अनोपचार: संलिलैः कःणयत्किश्चिदत्र खदतेनपानः । भंगामत्र निपीज्य शेते वस्त्यस्तु नित्यं । हिनषेऽस्मै ॥ विमुक्तवहीं विमदा मयूराः प्ररूढगोधूमयवा च सीमा। व्याधीमर तिः सलिलं सवाष्पं हेमनालशनि जयन्यान॥ सशमीधान्यपाकानि क्षेत्राण्यत्र जयन्ति च । त्रिशतिलका रात्र्यः पच्यन्ते लवणानि च ॥ उचानानां मूकपूँस्कोकिलस्वं भृङ्गस्त्रीणां माना मुखेषु । मन्दोद्योगा पत्रिण व्योमयात्रा हेमन्ते स्यात्सर्पदर्पक्षयश्च ।। कर्कन्धूनां नागरङ्गीफलानां पाकोद्रेकः खाण्डवोप्याविरस्ति । कृष्णेथूणां पुण्डूकाणां च गर्भे माधुर्यश्रीर्जायते चाप्यावा॥ 10 येषां मध्यमन्दिरं तल्पसम्पत् पार्श्वे दाराः स्फारतारुण्यता ।। लीलावहिनिलुतोहामधूमस्ते हेमन्तं ग्रीष्मशेषं विदन्ति ॥" इति हेमन्तः । हेमन्तधर्मः(मी) शिशिरः । विशेषस्तु-"रात्रिर्विचित्रहरताचितयामदैया चण्डो मरदहति कुङ्कुमपक्कसाध्यः । सल्पस्थितिर्द्विगुणतूलपटा किमन्य- दर्घन्ति चात्र वितताररुधूपधूमाः॥ आश्लेषिणः पृथुनलमपी- माया मिना चननुदा रजनी युवानः । ऊर्वोर्मुहुर्वलनबन्धनसंधिलोल- पाः तसंचालता लपटाः पन्त ॥ पानेऽम्भसोः सुरसनी सयोन भाति स्पतियार हिनानलयोन चात्र । नो दुर्भगासुभगयोः परिरम्भणे च नो सेवने च शशिभास्करयोर्विशेषः॥ 15 20 26 हरन्ति ब. २ Bषाह. ३Vवीर्घा.

·१०४ काव्यमीमांसायाम् 5 10 पुष्पक्रिया मरुबके जलकेलिनिन्दा कुन्दान्याषकुसुमेषु धुरि स्थितानि । सौभाग्य पतिलकाडूजतेऽर्कबिम्ब काले तुषारिणि दहन्ति च चन्दनानि ॥ सिद्धार्थयष्टिषु यथोत्तरहीयमान- सन्तानभिन्नघनसूचिपरम्परासु। द्वित्रावशेषकुसुमासु जनिक्रमेण पाकक्रमः कपिशिमानमुपादधाति ।। उदीच्यचण्डामिलनाडेला सुलीमांना जलस्य मूले । नालावशेषाब्जलतास्त्रिदानी विलासवापीषु न याति दृष्टिः॥ माद्यन्मतङ्गः पृषतैकतोषी पुष्यद्वराहो धृतिमला। दरिद्रनिन्द्यः सधनकवन्यः स एष कालः शिशिरः करालः ॥ अभिनववधूरोषस्वादुः करीषतानपा- दारलजनाश्लेषरस्तुषारसमीरणः। गलितविभवस्याज्ञवाद्य गुतिमरणा रवे- विरहिवनितावक्रौपम्यं बिभर्ति निशाक:॥ स्त्रियः प्रकृतिपित्तलाः कथितकुकुमालेपनै- नितम्बफलकस्तनस्थलभुजोरुमूलादिभिः। इहाभिनयानाः सकलरात्रिसंश्लेषितै- हरन्ति शिरिज्वरारातमतीव पृथ्वीमपि ॥” शिशिरः॥ "चैत्रे मदर्द्धिः शुकभरकाणा ससंबदसल्यूलमयुवतानाम् । १V निलीनमीनासु. २V B & V C पुष्यद्वराहा. ३VO सधनकनन्यः, 15 20 25 .--- ·कविरहस्ये अष्टादशोऽध्यायः। 10 पुरुकिलानां सहकारबन्धुः मदस्य कालः पुनरेष एव ।। मनोऽधिकं चात्र विलासलारे प्रेढासु दोलासु च सुन्दरीणाम् । गीते च गौरीचरितावतंने पूजाप्रपञ्चे च मनोभवस्य । पुंस्कोकिलः कूजति पञ्चमेन बलाद्विलासा युवतौ स्फुरन्ति । स्मरो वसन्तेऽत्र नवैः प्रसूनैः खचापयष्टेघदनां करोति ॥ पिनद्धमाहारजनांशुकानां सीमन्तसिन्दूरजु वसन्ते । स्मरीकृते प्रेयसि भक्तिभाजां विशेषवेषः स्वदते वधूनाम् ॥ अयं प्रसूनोडुरकर्णिकारः पुष्पप्रपञ्चार्चितकाश्चनारः । विजृम्भणाकोविदकोविदारः कालो विकाशोद्यतसिन्दुवारः॥ रोहतकान किदिसता महकमोचाः सह माधवीभिः । जयन्ति शोभाञ्जनकश्च शाखी सकेसरः पुष्पभरैर्वसन्ते ॥ यो माधवीमुकुलदृष्टिषु वेणियन्धो यः कोकिलाकलझते कथने च लाभः। पूजाविधिदमनकेन च यः स्मरस्य सन्मयुः स भगवान्गुरुरङ्गनाना ॥ 16 20 95 १V रजतो. २V शेखरः. ३ V रुतेः. १४ ·काव्यमीमांसायाम् 5 10 आलिडितः कुबकास्तिलको न दृष्टो नो ताडितश्च चरणैः सुदृशामशे कः । सिक्तो न वक्रमधुना बकुलश्च चैत्रे चित्रं तथापि भवति प्रसवावकीर्णः ॥ चैत्रे चित्रौ रक्तनीलावशोको वर्णागोमतीएच पीतः। जैत्रं तनं तत्प्रसूनान्तरेभ्यः चेतोयोनेः भूर्भुवःवस्त्रयेऽपि ॥ गूवाकानां नालिकेरद्रुमाणां हिन्तालानां पाटलीकिंशुकानाम् । खर्जूराणां ताडताडीतरूणां पुष्पापीडन्यासहेतुर्वसन्तः॥ वसन्तः॥ विकाशकारी नवमल्लिकानां दलच्छिरीषप्रसवाभिरामः। पुष्पप्रदः काञ्चनकेतकीनां ग्रीष्मोऽयमुल्लासितधातकीकः ॥ खर्जूरजम्बूपनसाम्रमोच- प्रियालपूगीफलनालिकेरैः । द्वन्द्वानि खेदालसतमु(म)पास्य रतानुसन्धानमिहाद्रियन्ते ॥ स्रोतांस्यनम्भांसि सकूपकानि प्रपाः कठोरेऽहनि पान्थपूर्णाः । शुचौ संमभ्यर्थि(घि)तसक्तुपाने प्रगे च सायं च वहन्ति मार्गाः॥ यत्कायमानेषु दिनार्द्धनिद्रा बलानफलिक्षितावलाने। १Vइमाणां. २V मालिकानां. ३ V •मपास्य. ४ V समभ्यर्चितसकुधाने. T 20 25 ·कविरहस्ये अष्टादशोऽध्यायः। 6 10 यद्रावशेष सुरतावतारः स मुष्टियोगो घनधर्ममाथी॥ या चन्द्रिका चन्दनपङ्कहृद्या या जालमार्गानिलवीचिमाला । या तालवृन्तैरुदबिन्दुवृष्टि- जलाञ्जलिं सा शुचये ददाति ॥ कर्पूरण सहकारभङ्ग- स्ताम्बूलमाक्रमुकोपकृप्तम् । हाराश्च तारास्तनुवखमेत- न्महारहस्यं शिशिरक्रियायाः॥ मुक्तालताश्चन्दनपङ्कदिग्धा मृणालहारानुसृता जलाः। सजश्च मौलौ स्मि(सि)तचम्पकानां ग्रीष्मेऽपि सोऽयं शिशिरावतारः॥" अत्र हि-“पच्यन्त इव भूतानि ताप्यन्त इव पांसवः। कथ्यन्त इव तोयानि ध्मायन्त इव चादयः॥ ऐणाः स्थलीषु मृगतृष्णकया ह्रियन्ते स्रोतस्तनुत्वजनिता जलवेणिबन्धाः। ताम्यत्तिमीनि च सरांसि जलस्य शोषा- दुचारघघटिकावलयाश्च कूपाः॥ करभाः शरभाः सरासभा मदमायान्ति भजन्ति विक्रियाम् । करवीरकरीरपुष्पिणीः स्थलभूमीरधिरुह्य चासते ॥ सहकाररसार्चिता रसाला जलभक्तं फलपानकानि मन्थाः। 15 20 23 १V पूर्णः. P V एण्यः. ३ A वृद्धारघट्ट०.

·काव्यमीमांसायाम् 10 मृगलावरसाः सृतं च दुग्धं स्मरसजी-दमौरधं निदाघे ॥ जडचन्दनचारवस्तरुण्यः सजलााः सहतारहारमालाः । कदलीदलतल्पकल्पनस्थाः स्मरमाहूय नेवेशयन्ति पार्श्वे ॥ ग्रीष्मे चीरीनादवन्तो वनान्ताः. पङ्काभ्यक्ताः सैरिभाः सेभकोलाः। लोलजिह्वाः सर्पसारङ्गवर्गा मूलस्रस्तैः पत्रिणश्चांसदेशैः॥ हम्यं रम्यं चन्द्रिकाधौतपृष्ठं कान्तोच्छिष्टा वारुणी वारिमिश्रा। मालाः कण्ठे पाटलामल्लिकानां सद्यो ग्रीष्मं हन्त हेमन्तयन्ति ॥ ग्रीष्मः॥ चतुरवस्थश्च कातुरुपनिवन्धनीयः तद्यथा-सन्धिः, शैशवं, प्रौ- दिः, अनुवृत्तिश्च।ऋतुद्वयमध्यं सन्धिः। शिशिरवसन्तसन्धिर्यथा- "च्युतसुमनसः कुन्दाः पुष्पोद्गमेष्वलसा द्रुमा मनसि च गिरं गृह्णन्तीमे गिरन्ति न कोकिलाः। अथ च सवितुः कोतोल्लास लुनन्ति मीचया न च जरठतामालम्बन्ते क्लमोदयदायिनीम् ॥” बसन्तशैशवः- "गर्भग्रन्थिषु वीरुधां सुमनसो मध्येऽङ्करं पल्लवा गल्छामापारग्रहः पिकवधूकण्ठोदरे पश्चमः। किं च त्रीणि जगन्ति जिष्णु विसैर्षित्रैमनोजन्मना देवस्थापि चिरोज्झितं यदि भवेदभ्यासवश्यं धनुः ॥" 16 20 26 V सर्वसारा०. २V किरन्ति.

·5 -10 कविरहस्ये अष्टादशोऽध्यायः । १०९ वसन्तमादिः- "साम्यं सम्मति सेवते विचकिलं पाण्मासिकैमौक्तिकैः कान्तिं कर्षति काञ्चनारकुसुमं माञ्जिष्ठधौतात्पटात् । हणीनां कुरुते मधूकमुकुलं लावण्यलुण्टाकतां लाटीनाभिनिभं चकास्ति च पतद्वृन्ताग्रतः केसरम् ॥” अतिक्रान्तर्तुलिङ्गं यत्कुसुमाद्यनुवर्तते। लिङ्गानुवृत्तिं तामाहुः सा ज्ञेया काव्यलोकतः ॥ वर्षासु ग्रीष्मलिङ्गाजविकासानुवृत्तिः । यथा-"खं वस्ते कलविङ्ककाठमलिनं कादम्बिनीकम्बलं चर्चा पारयतीव दर्दुरकुलं कोलाहलैरुन्मदम् । गन्धं मुश्चति सिक्तलाजसदृशं वर्षेण दग्धा स्थली दुर्लक्ष्योऽपि विभाव्यते कमलिनीहासेन भासां पतिः॥" एवमन्येऽपि । किञ्च-प्रैष्मिकस्मयावेकासी कथितो धूलीकदम्ब इति लोके । जलधरसमयप्रागौ स एव धाराकदम्बः स्यात् ।। यथा "धूलीकदम्बपरिधूसरदिअखस्य रक्तच्छटासुरशरासनमण्डनस्य । दीप्तायुधाशनिमुचो ननु नीलकण्ठ नोत्कण्ठसे समरवारिधरागमस्य ॥" जलसमयजायमानां जातिं यां काईमीति निगदन्ति । सा शरदि महोत्सविनी गन्धान्वितषट्पदा भवति ।। यथा-"स्थलावाव्यायाधेन्दु(()तिदलितबृहत्कोरकग्रन्थिभाजो जात्या जालं लतानां जरठपरिमलप्लावितानां जजृम्भे । नानाहंसोपधानं सपदि जलनिधेश्चोत्ससापरस्य ज्योस्लाशुक्लोपधानायनामेव शशी नागभोगा..मम्भः॥25 स्तोकानात केतक्या अपि केचिदिच्छन्ति । 15 20 १V कर्दमेन अनयन्ति. २ CB • मुक्तोपधान.

·काव्यमीमांसायाम् यथा- 5 10 "असूच्यत शरत्कालः केतकीधूलिधूसरैः। पद्माताप्रैनवायातश्चरणैरिव वासरैः॥" शरद्भवानामनुवृत्तिरत्र याणासनानां सकुरुण्टकानाम् । हेमन्तवळे यदि दृश्यतेऽपि न दृश्यते बन्धविधिः कवीनाम् ।। मन्तशिशिरयोरक्ये सर्वलिङ्गानुवृत्तिरेव । उक्तश्च-"द्वादश- मासः संवत्सरः, पश्चर्तवो हेमन्तशिशिरयोः समासेन" [इति]। मरुषकदमनकपुन्नागपुष्पलिङ्गानुवृत्तिभिः सुरभिः। रचनीयश्चित्रश्रीः किश्चित्कुन्दानुवृत्त्या च ॥ यथा-"गेहे वाहीकयूनां वहति दमनको मञ्जरीकर्णपूरा- नुन्मादः पामरीणां मरुति मरुबकामोदिनि व्यक्तिमेति । सद्योभङ्गानुसारस्रुतसुरभिसिराशीकरः साहकारः सर्पन्नम्भःशरावे रचयति च रसो रेचकीचाकाणे ॥" 15 यथा वा-"कुन्दे मन्दस्तमाले मुकुलिनि विकलः कातरः किङ्किराते रक्ताशोके सशोकश्चिरमतिविकचे चम्पके कुञ्चिताक्षः । पान्थः वेदालसोऽपि श्रवणकटुरटच्चक्रमभ्येति धुन्वन् सोत्कण्ठः षट्पदानां नवमधुपटलीलम्पटं कर्पटेन ॥" यथा वा-"धुनानः कावेरीपरिसरभुवश्चन्दनतरून मरुन्मन्दः कुन्दप्रकरमकरन्दानवकिरन् । प्रियक्रीडाकर्षच्युतकुसुममामूलसरलं ललाटे लाटीनां लुठितमलकं ताण्डवयति ॥" एवमन्याऽप्यनुवृत्तिः। विचकिलकेसरपाटलिचम्पकपुष्पानुवृत्तयो ग्रीष्मे । तत्र च तुहिनतुभवं मरुबकमपि केचिदिच्छन्ति । 20 25 १V adds this before गेहे. २V चक्र. ३ Vadds this here.

·.. 5 10 कविरहस्ये अष्टादशोऽध्यायः । यथा-'कणे स्मेरं शिरीषं शिरसि विचकिलनग्लताः पाटलिन्यः कण्ठे मालहाो वलयितमसिताम्भोजनालं कलाच्योः। सामोदं चन्दनाम्भः स्तनभुवि नयने म्लनमालेष्ठपृष्ठे गानं लोलज्जलाई जयति मृगदृशां ग्रैष्मिको वेष एषः॥" यथा च-"अभिनवकुशसूचिस्पर्द्धि कर्णे शिरीष मरुबकपरिवारं पाटलादाम कण्ठे । स तु सरसजलाोन्मीलितः सुन्दरीणां दिनपरिणतिजन्मा कोऽपि वेषश्चकास्ति ॥" एवरदाहरणान्तराणि । ऋतुभववृत्त्यनुवृत्ती दिङ्मात्रेणात्र सूलिते सन्तः। शेषं स्वधिया पश्यत नामग्राहं कियद्रूमः॥ देशेषु पदार्थानां व्यत्यासो दृश्यते स्वरूपस्य । तन्न तथा बन्नीयात्कविबद्धमिह प्रमाणं नः॥ शोभान्धोगन्धरसै: फलार्चनाभ्यां च पुष्पमुपयोग। षोढा दर्शितमेतत्स्यात्सप्तममनुपयोगि [ता] ॥ यथा- यत्प्राचि मासे कुसुमं निबद्धं तदुत्तरे बालफलं विधेयम् । तदग्रिमे प्रौढिधरं च कार्य तदग्रिमे पाकपरिष्कृतं च ॥ दुमोद्भवानां विधिरेष दृष्टो वल्लीफलानां न महाननेहा । तेषां द्विमासावधिरेव कार्य: पुष्पे फले पाकविधौ च कालः॥ अन्ताजं बहिाजं बाह्यान्ताजमेव च । सर्वव्याज बहुव्याज निर्व्याजं च तथा फलम् ।। १ BC मान० २ AC चि. ३ V B & V C शोभास्रम् V A शोभाश्र० ४ V तत्सप्त- ममनुपयोगि तथा. 15 20 25

·११२
अष्टादशोऽध्यायः।
ल चाचन्ताजं तथा बहिाजमत्र मोचादि।
आम्राशुभयव्याजं सर्वव्याजं च ककुभादि ॥
पनसादि बहुव्याजं नीलकपित्यादि भवति निव्याजः ।
सकलफलान षोढा ज्ञातव्यः कविभिरिति भेदः ।।
एकद्विश्यादिभेदेन सामस्त्येनाथवा ऋतून् ।
प्रवन्धेषु निबध्नीयात्क्रमेण व्युत्क्रमेण वा ॥
न च व्युत्क्रमदोषोऽस्ति कवेरर्थपथस्पृशः।
तथा कथा कापि भवेद् व्युत्क्रमो भूषणं यथा ॥
अनुसन्धानशून्यस्य भूषणं दूषणायते ।
सावधानस्य च कवेर्दषणं भूषणायते ॥
इति कालविभागस्य दर्शिता वृत्तिरीदशी।
कवेरिह महान्मोह इह सिद्धो महाकविः ॥
10
इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे
कालविभागो नाम अष्टादशोऽध्यायः ।।
15
समाप्तमिदं प्रथममधिकरणं कविरहसं काव्यमीमांसायाम् ।
१V कपिच्छादि.

·EXPLANATORY NOTES. Notes enclosed within square brackets [ ] belong to preveious Editions. Page I - * [I. 1. अथातः काव्यं मीमांसिष्यामहे. Hemacandra has named his work on Nyaya as प्रमाणमीमांसा. The first sūtra of his work is "BTT प्रमाणमीमांसा". For the propriety of the words अथ and मीमांसा ef. Hemacandra's vrtti on the same. "अथेत्यस्याधिकारार्थत्वाच्छास्त्रेणाधिक्रियमाणस्य प्रस्तृयमानस्य प्रमाणस्याभिधानात्सकल- शास्त्रतात्पर्यव्याख्यानेन प्रेक्षावन्तो बोधिताः प्रवर्तिताश्च भवन्ति । आनन्तर्यार्थो वाऽथशब्दः । शब्द- काव्यच्छन्दोनुशासनेभ्योऽनन्तरं प्रमाणं मीमांस्यत इत्यर्थः । अनेन शब्दानुशासनादिभिरस्यैककर्तृ- कत्वमाह अधिकारार्थस्य चाथशब्दस्यान्यार्थनीयमानकुसुमदामजलकुम्भादेर्दर्शनमिव श्रवणं मङ्गलायापि कल्पत इति । मङ्गले च सति परिपन्थिविघ्नविघातादक्षेपेण शास्त्र सिद्धिरायुष्मच्छोतृकता च भवति । परमेष्टिनमस्कारादिकं तु मङ्गलं कृतमपि न निवेशितं लाघवार्थिना शास्त्रकारेणेति । प्रकर्षण संशयादिव्यवच्छेदेन मीयते परिच्छिद्यते वस्तुतत्वं येन तत्प्रमाणम् । प्रमायां साधक- तमम्। तस्य मीमांसोद्देशादिरूपेण पर्यालोचनम्। त्रयी हि शास्त्रम्य प्रवृत्तिहदेशो लक्षणं परीक्षा च । तत्र नामधेयमात्रकीर्तनमुद्देशः यथेदमेव सूत्रम्। उद्दिष्टम्यासाधारणधर्मवचनं लक्षणम् । तद्वेधा सामान्यलक्षणं विशेषलक्षणं च । सामान्यलक्षणमनन्तरमेव सूत्रम् । विशेषलक्षणं विशदः प्रत्यक्षमिति । विभागस्तु विशेषलक्षणस्यैवाझमिति न पृथगुच्यते । लक्षितस्य दमित्थं भवति नेत्थमिति न्यायतः परीक्षणं परीक्षा यथा तृतीयसूत्रम् । पूजितविचारवचनश्च मीमांसाशब्दस्तेन न प्रमाणमात्रम्यैव विचारोऽत्राधिकृतः । किन्तु तदेकदेशभूतानां दुर्नयनिराकरणद्वारेण परिशोधितमार्गाणां नयानामपि । “प्रमाणनयरधिगमः इति हि वाचकमुख्यः । सकलपुरुषार्थषु मृर्धाभिषिक्तस्य सोपायम्य सप्रतिपक्षम्य मोक्षस्य च । एवं हि पूजितो विचारो भवति । प्रमाणमात्र विचारस्तु प्रतिपक्षनिराकरणपर्यवसायी वाकलहमानं स्यात् । तद्विवक्षायां तु अथ प्रमाणपरीक्षेत्येव क्रियेत। तत् स्थितमेतत् प्रमाणनयपरिशोधितप्रमेयमार्ग सोपायं सप्रतिपक्षमोक्षं विवक्षितुं मीमांसाग्रहणमकार्याचार्येणेति ॥ १ ॥" For 371a: cf. also "अथातो ब्रह्मजिज्ञासा" ब्र. सू. 1-1-1 and the Bhasya.] अथातः । Generally original writers in the sutra style begin their treatises with the words either 37417: or 314. Āpastanba, Kaņāda, Jaimini and Bādarayaņi in their respective sūtra works use the words 37417: in the beginning, while Patanjali begins with अथ in his works on Yoga and Grammar. Eminent Bhāşyakäras such as S'abarasvāmin, Sankarācārya and Patañjali interpret the word 27 generally in two senses, i. e. आनन्तर्य and अधिकार. आनन्तर्य įs meant when 37e7 is followed by the word 37: and in all other cases अधिकार. Others believe that the words अथातः joined together in the beginning of a work, mean nothing but आनन्तर्य. This view, held १५ " 1. 1.

·114 EXPLANATORY NOTES 63). by Bhavadāsa and other Vịttikūras on Jaimini earlier than Sabara (cir. 500 A. D.), has been cited and refuted in the S'lokavārttika hy Kumärila ( see Kārikās 1. 33, 34, Prabhākarabhatta also, while commenting on S'abarasvāmin introduces this view of Bhavadāsa and refutes it in his work entitled the BỊhati, saying: 217 CH167 pirata: 75CPRIA 21 Tat- निवृत्तिः प्रयोजनम् । (1. 1. 1.) Some Vrttikäras, such as Rudradatta and others while commenting on the first sülra eturat maiquaià ETTERTIA: of the Āpastambaśrauta, take the two words अथातः to mean only 3117nü following Bhavadāsa. S'abarasvāmin, however, refutes this view of Bhavadāsa with care and establishes the meanings of raras for अथ and हेतुभाव for the word अतः in the sutra अथातो धर्मजिज्ञासा of Jainiini. Other commentators such as Dhūrtasvāmin, S'arkaramišra and others, in their works on Āpastamba and Kaņāda, take the word 374 to indicate Mangala'. But Sankarācārya in his Bhāşya on Bādarayıına sūtra disapproves of this and takes 3727 to mean only आनन्तर्य, saying : अर्थान्तरप्रयुक्त एव यथशब्दः श्रुत्या मङ्गलप्रयोजनो भवति । For other meanings of the word 374 referenco may be made to the yerses :- #4717577TF87937 Flacault 3871 (Amarakośa 3. 246.) and ओकारश्चाथशब्दश्च द्वावेता ब्रह्मणः पुरा । कण्ठं भित्वा विनिर्याती तस्मान्माङ्गलिकावुभौ ॥ Rājasekhara also begins his work with the words 87417: and this shows that he intends to write his Kävyamīmārsū in the sūtra style. Hoie enet cannot mean sifat because of the finite verb fixifTqIHÈ, as also because it is followed by the word Brai. el taas alone, therefore, is better fitted hero than 3f91e and gara for the word 70: 1 311777f obviously connects two ovents and, therefore, requires a previous event after which the Kāvyamimāṁsā may be composed by him. What then is that event after which Rājasekhara composed the Kāvyamimāṁsā? The previous event or circumstance in this case can only be suggested as the author himself did not mention it. Many circumstances such as शिष्यप्रश्न, देवताराधन, रसायनादिक्रिया, गुरुपर्वक्रम, etc. are suggested by the commentators of the sūtras of Kaņāda, Apastamba and others after which, they thought the work was composed by their respective authors.

·FIRST ADHYAYA 115 Οι It may be suggested here that 96987H is to be taken as the previous event required by the word aper, as Rājasekhara himself enumcrates the teachers of the Kāvyamīmāṁsā in the sentence beginning with यथोपदिदेश श्रीकण्ठः, etc. In this case, therefore, the word 374 suggests that Rājasekliara composed the Kūvyamīmārsā after having been taught by his own Guru who was the last in the list of teachers beginning with Srikantha. This is what is called गुरुपर्वक्रम. A suggestion of this kind is also made by Kumārilabhatya while explaining thic'word 3744 in the sūtra gertat TARTETRIT of Jaimini, and subsequently, the same is rejected by him on the ground that the knowledge of this गुरुपर्वक्रम does not help the reader in any way, and that the list of teachers also cannot be taken as entirely accurate, In this connection Parthasarathi's commentary Kumārila is noteworthy: "पर्व अवच्छेदः । गुरुपर्वणां क्रमः गुरुपर्वक्रमः । तद्यथा 'ब्रह्मा प्रजापतये मीमांसां प्रोवाच । मोऽपीन्द्राय । सोऽप्यादित्याय । स च वसिष्ठाय । सोऽपि पराशराय । पराशरः कृष्णद्वैपायनाय। सोऽपि जमिनये । स च खोपदेशानन्तरमिमं न्यायं ग्रन्थे निबद्धवान्' इति । सोऽयमेवंविधः संबन्धो निष्फलो निर्हेतुकश्च । नास्मिन् संयन्धे किंचित्प्रमाणमस्ति' । इति । (Nyayaratnakeura, p. 8). It is necessary, therefore, to find out it reasonable circumstance which may have preceded the composition of the Kavyamimams. That circumstanco seems to be the composition of other earlier Kāvyas. Hore the word 374 to indicate that after composing the Kīvyas and Näțakas, the author begins composing the Kūvyamīmāṁsā. It is easy now to understand the meaning of the word 877:. This word indientes वृत्तस्य हेतुभाव. Here वृत्त is काव्यनाटककरण. This is the exact event that precedes the composition of the Kävyamimāinsi. To explain the necessities of a poet and the method of composition which are treated of in the Kāvyamīnāmsā, a writer should first gain experience as a poet and compose several works on different subjects. The words 3797 and ara:, therefore, indicate as follows:- अथ बालरामायणहरविलासादिदृश्यश्रव्यकाव्यकरणानन्तरम् । अतः-काव्यविचारात्मकमीमांसाशास्त्रस्य काव्यकरणानन्तरमेव सुकरत्वाद्धेतोः । The word ena: can, however, be explained from a different standpoint. This word being derived from it again, is used here to mean the desired object (TGPATAUII). In that case 3771: means श्रीकण्ठमारभ्य प्रवृत्तस्य काव्यमीमांसाशास्त्रस्योच्छिन्नत्वाद्धेतोः । Therefore, the construcscons ·116 EXPLANATORY NOTES tion of the further text from far to the end of the sentence इत्थकारं च प्रकीर्णत्वात् (P. 1. 1. 14.) with this प्रतिज्ञावाक्य appears quite logical and coherent. 1. 1. 41741 This word denotes the purpose of this Mimāṁsāsastra. It is necessary that in the beginning of every work or śāstra the result obtained from such work or sāstra should be stated in order that those wlio read inay readily be interested in it. This practice is observed by all Sūtrakāras. Kumārilabhatta explains this in the following Kārikā: Taha Tate #ot arslo Frio | 2196791 Alth arant en Tudul (S'lokavārttika I. 12.) 1. I. HAPI This verb also indicates that Rājasekhara wrote his work in the sūtra style in the same way as other Srauta, Grhya and Dharmasūtras were written. Basing on one of the two roots माङ् or मान, सन् प्रत्यय takes place according to the rule of Pāṇini 3-1-6. and the meaning of the word that is to be taken as पूजितविचार. The result obtained from this Mimārsá is काव्यविद्यासिद्धि, just as धर्मज्ञान and ब्रह्मज्ञान are obtained from the पूर्वोत्तरमीमांसा। 1. 1. 17.03: etc. IIere Räjasekhara intends to record tho TETTFITI of this Mimāınsāśāstra in order to impress that he is not the sole originator of this S'āstra, as also to show the reason why he had to composc this work while the Science had already been well-established by his predecessors. S'rīkaņķha and Brahman are considered by the author as the originators of this Mimāmsáśästra in the same way as Panini and Kanāda are said to have obtained the knowledge of their śāstras from Mahādeva, or as Dharmamīmārsū and Bharata's Nātyaśāstra are said to have originated from Brahman. 1. 1. påfe. Srikantha delivered lectures on Kāvyamīmāṁsā or criticisms on Kāvyas to lis 64 students headed by Brahman and he, the self-born, also taught the same to his disciples who were born from his mind. These disciples are the sages Bhrgu and others according to the Vāyupurāņa (Adh. 65.) and the same statement is made by Rajasekhara following the same Purāņa on p. 28. 1. 14 of the Kávyamīmāmsā. 1. 2. चतुःषष्टये शिष्येभ्यः । Cf. ब्रह्मविष्णुरुद्रगुहबृहस्पतिमार्गवादिशिष्येषु चतुः- Height 27: 91#777(Kāvyamīmāṁsā p. 29 ) ] [ ·FIRST ADHYAYA 117 1. 2. 29:420 Here the number 64 is exceedingly interesting. The Pāñcālas used the number 64 in their classifications. Rgveda has been divided into 64 Adhyāyas comprising 8 Aştakas of 8 Adhyāyas each. Vātsyāyana in his Kāmasūtra mentions 64 Upavidyās of his own and 64 Kalās of the Pāñcālas and divides the whole s'āstra into 64 Prakaranas (V.S. 1. 3. 14-17 and 2. 2. 3-4) Bharata in his Nāțyaśāstra enumerates 64 Nătyāngās and S'āradātanaya divides countries in the Bhäratavarşa into 64 in his Bhāvaprakāśana. It seems to be a remnant of an old custom to divide a subject into eight just as Pāṇini did in his Aștādhyāyī. In giving the number 64 to the disciples of Srikantha, it appears that Rājaśckhara also followed the same tradition. His eight kinds of poets and 32 kinds of Kāvyārthaharaņas or plagiarisms (p. 65 ) also show his leaning towards the same tradition. 1. 3. सारखतेयः etc. The story of Sārasvateya-Kavyapuruşa, as one of the originators of the Kāvyamīmāísī, seems to have been borrowed by Rājasekhara from the larşacarita of Bāņa. Bāņa, in his auto-biography found i Sārasvateya the son of Sarasvati and Dadhica Bhārgava, through whom Vatsal, the first male representative of his family, got the knowledge of all sciences and the Vedas. The origin of this story of Sārusvateya is traceable in many Purāņas. But they differ from one another in many l'espects. Bāņa and Rajasekhara seem to have mainly followed the Väyupurāņa for this idea of Sārasvatcya as the version preserved in this Purāņa agrecs mainly with that given in their works. The special leaning of Rājasekhara towards tho Váyupurāņa is also demonstrated by his references to that Purāna later on on pago 28 1. 12. According to the Vāyupurāņa Bhrgu or Kavi, the first son of Brahman, had Cyavana as his son through Paulomī, and this Cyavana also had two sons Dadhica and Ātmarāna through Sukanyā. Dadhica married Sarasvati and got a Sārasvateya as his son who was learned in all S'āstras through the blessings of his mother, but was childless. Ātinavāna, the brother of Dadhica, on the other hand, got the sons Aurva and others and through them the family of Bhrgu expanded. In this family was born Vatsa the Mülapuruşa of the Vātsyāyana Gotra to which Bāņa also belonged (vide, Väyu. Adh. 65). Bāņa followed the same succession list as found iu the Vāyupurāņa in the 1st chap- ·118 EXPLANATORY NOTES as ter of the Harşacarita and adduced some reasons to explain why Sarasvatī had to marry Dadhica and how Vatsa, Bāna's Gotraguru, was connected with Sārasvateya. The Vāyupurāņa and the Harşacarita seem to have offered materials to Rājasekhara who while describing the story of Kāvyapuruṣa, the son of Sarasvati, makes him one of the earliest exponents of the Kāvyamīmāṁsā. For a complete description and origin of Sārasvateya a reference may be made to the 3rd chapter of the present work. 1. 3. PUTIH: -more important gods. The word वृन्दारक means divine beings or Devas and it transforms itself into an in comparative (vide Pāṇini 6-4-157 ). 1. 4. 7102959:-Bhrgu and Sukra are known Kavi. Sārasvateya the descendent of their family is, therefore, called Kāvyapuruşa (vide Pāṇini 4. 1. 151). 1. 4. fra 70-tlırough divine power. This accounts for his knowledge of सर्वसमय and भविष्यदर्थ. 1. 6. #174faar: -science of poetical composition. 1. 6. 37617Tiffuft:--the collection of 18 Adhikaranas or topics. The word Adhikaraṇa is interpreted in several ways, but the following three may be said to be appropriate for the present application of the word. (1) Each discussion regarding Dharma and Brahma introduced by Jaimini and Bādarāyaṇa in their Mīmāmsāśāstras, is called an Adhikarana. This technical dis. cussion is defined as :- विषयो विशयश्चैव पूर्वपक्षस्तथोत्तरः । प्रयोजनं च (संगतिश्चेति) पञ्चाङ्गं प्राञ्चोऽधिकरणं विदुः ॥ According to this definition an Adhikaraņa must consist of five limbs, namely, fèq etc., which constitute the actual discussion. Though Rājaśckhara is not entirely in accord with this definition in his Adhikaraṇa of Kavirahasya, his discussions have five limbs such as faqz etc., particularly in respect of the nature of poets, origin of poetry, etc. (2) Secondly, the word Adhikarana means the court of justice. Here Kājasekhara records his own judginent on several topics pertaining to Kavirahasya after stating the different schools of thought started by the Ācāryas, Surānanda, S'yāmadeva and others which he ultimately rejects. The division into Adhikaraņas found in the Arthaśāstra and the Kāmaśāstra ·FIRST ADHYAYA 119 is also planned according to this method where in the same manner, the respective authors, while discussing the different topics, state the views of earlier authors and ultimately rejcct theni. (3) Thirdly, the word Adhikaraṇa is used in a popular sense signifying a full discussion of a particular topic (afufua SETY 87811: sfefafa 314#TOT). This explanation, of course, covers the Adhikaraņa division of the Artha and Káma śāstras which are divided respectively into 15 and 7 Adhikaraņas, each having several Adhyāyas. In the case the word is synonymous with the word अध्याय or अधिकार, and does not include the technical Adhikarana of five factors: विषय, संशय etc. 1. 7. ara+:. Snātakas are those who after studying the Vedas, take the final bath or an, live the life of a householder and observe some rules for cleanliness as prescribed in the Dharmaśāstras. (For the rules of a Snātaka, see for instance, Gautama's Dharmasūtra, chapter 9). They belong to the order of a householder and not of a Brahmacarin. Here Rājasekhara points to the divine Snātakas who after finishing the study of Kavyavidyā take a bath to follow the rules of a Svātaka. In this connection it is to be remembered that Dharmamīmāṁsā is to be studied after studying the Vedavidyā and before one becomes a Snūtaka. (Sec Jaimini's sūtra Beat Tari 1-1-1). In order that greater respect may be shown to his Mīmānsī, Rājasekhara mentions that the Kāvyamīmāṁsa was taught to Kävyavidyā-Snātakas. The reason for this digression seems to be to indicate that discussion on poetics is appreciated only by those who lead the life of a householder. The words eT&IFETI: Tuff and art*: show that Kävyapuruşa taught all the 18 Adhikaraņas to a corsiderable number of divine Snātakas. * [ 1. 8. quia17: 1 This name occurs also in the Kāinasūtra; "सुवर्णनाभः सांप्रयोगिकम् ।" (काम. सू. 1. 1-13). ] 1. 8. Tama. Out of those divine Snātakas who studied the Kāvyamīmāṁsā of 18 sections from Kävyapuruşa, Sahasrükşa composed a treatise on the Kavirahasya only. The root ना preceded by all and an indicates that the Snātakas separately composed different treatises dealing with cach section of the Kavyamīmāṁsā; but it is not reasonable to infer from this use of the verb that Sahasrākṣa studied the Kavirahasya-section only under the guidance of Kāvyapuruṣa. This is supported by the passage at the end of this sentence, namely: sfat dae gut que arrator विरचयाश्चकुः । 1, 13, ·120 EXPLANATORY NOTES Subjects dealt with in these 18 sections are more or less well known in the history of poetics. But the authors such as Sahasrūkşa and others are entirely new in the field of Alankāra literature. Though some early writers on poetics, rhetoric and dramaturgy such as S'ilāli, Krśāśva, Kāśyapa, Vararuci and Medhāvin are known through the writings of Pāņini, Bhāmaha and Dandin, none of them, however, is mentioned here as the author of any subject. Rājasekhara, indeed, mentions a few names such as Bharata, Kucamāra, Suvarnanābha and Nandikeśvara who are fairly known, but the names of Sahasrākşı and others mentioned by him are entirely unknown. It is not proper to say that these names are entirely imaginary, but it is very probable that he recorded here a forgotten tradition handed down from a source which remains yet unknown. But then, it has to be explained how Bhāmaha, Daņàin, Vāmana, Udbhata, Anandavardhana and Rudrața who were earlier than Rājasekhara and dealt with the same subjects with a special interest, did not care to mention any of the earliest writers on these subjects. In this connection, another point also is worthy of note that Rājasekhara has made a good use of the figure of speech known as Anuprāsa in selecting the names of the authors of these chapters, and as such the names may as well represent purely imaginary persons. This is borne out by such combinations as :: कविरहस्यं सहस्राक्षः, siiffiagfftitati, aufei gautarii, चित्रं चित्राङ्गदः, श्लेषं शेषः, औपम्यमोपकायनः, etc. Of course, we find mention in the Artha and the Kama sāstras of Kautilya and Vātsyāyana, of similar names of authors such as Bhāradvāja, Bșhaspati, Viśālākşa, Parāśara and others whose works are either summarised or referred to in them, but we cannot doubt the authenticity of the statements of Kautilya and Vātsyāyana because there are no works on Artha and Kāma earlier than Kautilya and Vätsyāyana available to-lay, as it is in the case of the Kāvyamīmāṁsā. On the contrary, the existence of the works of such authors as Bșhaspati and Viśālākşa can be from quotations found in later works under their names ( see Intro. of the Arthaśāstra, Trivandrum edi. p. 6.). proved 1. 8. Büfen :- different methods of expression from the sentences', They are वाच्य, लक्ष्य, गौण and व्यंग्यs of अर्थ, and वाचक, लक्षक, गौण and व्यजक of the शब्द. It is natural for Rājasekhara to explain ·FIRST ADHYAYA 121 the nature of Dhvani in this chapter of sitfit which, as he says, was composed by Jitta; but he does not expressly mention the school of Dhvani as the subject of any one of his Adhikaraņas, probably because it had recent origin in his time and also because he belonged to the Rasa school of Bharata. He knew, however, the view of Anandavardhana, the chief exponent of the Dhvani school, as he quoted a verse from his Dhvanyāloka (See p. 16. of this work). Vakrokti which is included by Rudrata as a S'abdālankāra must have also been treated in this chapter of shiftfi fi along with different kinds of aftris as exqulained by Bliojadeva in his Sarasvatikanthābharaṇa. (2. 39). 1. 8. Aufgai Discussions regarding the nature of the Rītis are current from the very early stages of the science of poetics as both Bhāmala and Dandin, the earliest writers on this subject, mention them is already existing since a very long time ( sec Bhūmaha's, K. A. 31-33 and Dandin's K. A. 1-40). Vāmana, tho author of the Kāvyālankūrasūtra, improved upon them and stated that Rīti alone is the soul of the Kāvya. (Aftaler i 1. 2. 6.). प्रचेतायनः । The earliest authors on poctics accept TTEET as one of the Alankāras or figure of speech. Bhāmaha treats this at the very outset while dealing with Alankāras and divides it into two kinds as Grāmya and Lutīya. Daņilin characterizes Anuprāsa as an inferior method of writing which he attributes to the writers in the Gauda country (see K. A. I. 44-60). But the followers of Bhāmaha have been able to discover several varieties of it in their works, The original writer on agaen, as Rājasekhara mentions, is satarea, very probably a member in the family of Pracetas, ono of the ten Prajāpatis. But the word saaraa does not seem to be grammatically correct according to the rules of Pāņini. Vālmīki, the author of the Rāmāyaṇa, also is a Prācetasa. Rājasekhara perhaps means that Vālmīki was the original writer on Anuprāsa as we frequently come across examples of this figure of speech in his Rāmāyaṇa. It is curious, however, that Pracetas does not find any place among the gotras and pravaras of the Brāhmins, यमकानि The name of the original inventor of 28% is omitted in all MSS. of the Kávyamīmāṁsā. Citrängada cannot be taken as the teacher of both the Yamaka and Citra. Firstly because, the name is not in keeping with the Anuprāsa which 1. 9. 1. 9. 1 ·122 EXPLANATORY NOTES seem is strictly observed here in mentioning the subject and the author. Under this Anuprāsa principle, Citrāngada can be the originator of the Citra alone. Secondly because, Rājasekhara subsequently states that 18 chapters were separately composed by eighteen authors : इति ततस्ते पृथक्पृथक् स्वशास्त्राणि विरचयाचक्रुः । (p. 1. 1. 13.) Some scholars, however, suggest here a reading different from the present one as आनुप्रासिकं प्रचेताः । यमो यमकानि । But this reading is not warranted by the MS material available at present. The form gara also does not to be grammatically correct as the grammatical form in this case ought to be giðanga or targla:. Yamakas are very freely used in the Sanskrit literature even from the time of the Rāmāyaṇa and the Mahābhārata. Kālidāsa also in the 9th sarga of the Raghuvainsa unes Yamaka frequently but with care so as not to give rise to a feeling of disgust in the mind of his readers. It is one of the four Alarkāras mentioned with several varieties by Bharata, the earliest writer on the science of poeties (see N. S. ed. 16th Chapter). Ainongst later writers, Bhūmaha was not satisfied with the classification of Bharata, and he acknowledged only five varieties instead. Though Dandin has no special fondness for Yanakas in the Kävya, he, nevertheless, deals with the subject with its various sub-divisions in a separate chapter (sce K. A. 1. 61). It is, therefore, clear that Yamakas had quite an early origin. Yama, who is considered to be the original teacher of the Yamaka in the emended reading given above is quite in keeping with the scheme of Anuprāsa followed by Rājasekhara in mentioning the subjects and their teachers. 1. 9. चित्रं चित्राङ्गदः । Later writers on literary criticism use the word to mean an inferior kind of poetry possessing Guņa and Alaňkāra only, without any vestige of Dhvani. (see Dhvanyāloka 3. 42 and Kāvyaprakāśā. 1. 5.). Rājasekhara, here does not refer to the face but to faz which is recognized as one of the S'abdālaňkāras by the early writers on Alankāra. Here by the word 2, is meant such peculiar combination of words in poetry as to make up Bandhas such as चक्र, खड्ग, मुरज, etc. and other arrangements of words such as मात्राच्युतक, प्रहेलिका etc. Rudrața is the first writer to include this kind of combination of words in his list of S'abdālankāras (2-13.) with the name far, and to deal with its various forins in the 5th chapter of ·FIRST ADHYAYA 123 his Kāvyālaňkāra although Bhảmaha and Dandin mention this kind only as another variety of Yamaka. It is curious that the subjects of several Adhikaraṇas in the Kāvyamīmāṁsā, should be so arranged by Rājasekhara as to appear as an imitation of the system adopted by Rudrața. Rudrața gives in his Kāvyālaukāra the list of the S'abdālurikūras in the following verse: वक्रोक्तिरनुप्रासो यमकं श्लेषस्तथाऽपरं चित्रम् । शब्दस्यालंकाराः श्लेषोऽर्थस्यापि सोऽन्योऽस्तु ॥ (2. 13). and treats of these Alarkāras in chapters 2-5 following the same order. In the first and second chapters, Rudrata deals with Kavirahasya and Rītinirņaya. Now, it will be evident that the order of subjects adopted by Rājasekhara in the first 7 Adhikaraņas is substantially the same as found in the work of Rudrața. That Rājasekhara also followed Rudrata in many innportant points will be shown in sequel. 1. 9. 37TA1 Following Rudrata's classification here you is included among the TEI FITS and opefyn among the Beis#ITS. Earlier writers such as Bhāmaha, Udbhata and Vāmana make no such distinction between these two varieties of the S'leşa but include them both amongst the stric ITS. Rudrata for the first time treats of these two separately in two different chaptors. Regarding the attribution of the original authorship of the Sleșa to S'eşa no authority exists, and the word S'eşa is probably used since it is in accordance with the author's scheme of Anuprīsa already referred to. ll. 9-10. वास्तव, औपम्य, अतिशय and अर्थश्लेष । Ilere Rājasekhara begins his list of Arthālankāras. This classification of the Arthālańkāras into the groups Vāstava etc. is found only in the Kāvyālankāra of Rudrața; but the early writers on Alankāra preceding Rudrata do not seem to be aware of this system of grouping. Rudraţa classifies them in the following verse : अर्थस्यालंकारा वास्तवमौपम्यमतिशयः श्लेषः । एषामेव विशेषाः अन्ये तु भवन्ति नि.शेषाः ॥ (K. A. 7.9). and deals with them in four chapters 7-10. Under the heads arna, etc. Rudrata includes respectively 23, 21, 12 and 10 figures of speech as based upon the four definite principles, ara, etc. This shows that Rājasekhara generally followed Rudraţa in his ·124 EXPLANATORY NOTES In any classification of subjects. But the attribution of these four groups of Alankāras to four authors gosta, 3174147, qTite and 3927 must be an original contribution of Rājasekhara. It is also possible that Rājasekhara and Rudrata followed a common source for their materials which unfortunately does not exist now. case it can safely be asserted that Rājasekhara in the first 11 sections of the Kāvyamīmāṁsā closely follows the arrangement of topics as found in the first 10 chapters of Rudrata's Kāvyā. lankāra. That Rājasekhara was well acquainted with Rudrata's work, is borne out by the fact that he qunted from Rudrata's work in several places in his Kūvyamimaṁsā. (Cf. p. 16. I. 5 and p. 31. 1. 9 of K. M. with Rudrața 1. 18 and 2. 16). 1. 11. 5H45FIRFALI Two kinds of IEET seem to have been treated in this chapter. The two Alankāras 5T and izzle with their varieties may be called J710Fits, because they are known when there is a combination of two or more Alankūras belonging either to Sabda or Artha. Rudrata deals with these 31cfits in the 10th chapter of his Kāvyālankāra after Betrza. Rājasekhara also takes up this subject in the same order after 37. Another kind of which may form the subject matter of this chapter includes those Alarkūras which beautify the poetry belonging to both S'abda and Artha. Alaňkāras such as Upamā, Punaruktavadabhāsa, Samuccaya, Sahokti, S'leșa, Vyatireka, Rūpaka, Virodha, etc. come under this category. Cf. Rudrata's, K. A. 4. 32-34 and Udbhața's, K. A. S. S. (gos. ed.) pp. 37–10. There is another kind consisting of 24 JTSEITS which is dealt with by Bhojadeva in the 4th chapter of his Sarasvatikanthabharana. These Alańkāras do not, however, form the subject matter of this chapter because Bhoja's JH7171T includos only Upamā, Rūpaka etc. which are already included in the Aupamya group under the authorship of 311971977 in the previous chapter of this work. 1. 11. QafqFhI Kāmadeva is mentioned as the author of this chapter which deals with the Vinodas. Vātsyāyana in his Kāinasūtra (1-4) gives a list of Vinodas for an accomplished citizen or Nāgaraka who is required to indulge in these Vinodas in the company of their ladies or dancing girls. The treatises Kandarpacūųāmaņi, etc. dealing with the subject Kāma also explain the nature of these Vinodas for romantic couples. They are :- ·FIRST ADHYAYA 125 -- आपानकविधिः, उद्यानजलक्रीडा, कुक्कुटलावमेषयुद्धम् , यूतम् , यक्षरात्रिः, कौमुदीजागरः, सुवसन्तकः etc. Bhojadeva in his Sarasvatikanthābharaṇa gives a similar list of Vinodas of lovers to be described by poets while dealing with love affairs in their poetry. Cf. अष्टमीचन्द्रकः कुन्दचतुर्थी सुवसन्तकः । आन्दोलनचतुर्थे कशाल्मली मदनोत्सवः ॥ etc. Sarasvatikanthābharana 5, 93-96. These Vinodas aro classified according to the different seasons or Řtus by S'āradātanaya in his Bhāvaprakāśana us unler : अष्टमीचन्द्रशका वसन्तमदनोत्सवाः । वकुलाशोकविहृतिः शाल्मलीमूलखेलनम् ॥ एते वासन्तिकाः प्रायो विनोदा रसिकोचिताः । उद्यानयात्रा सलिलक्रीडा पुष्पापचायिका । नवानखादिका चूतमाधवीनवसंगमः । एते प्रायो विनोदाः स्युः निदाघे मुखभोगिनाम् ॥ etc. pp. 137-138. In the Ratnávali, Sākuntala, etc. we find that Vinodas such as the Kaumudimalotsava, Manmathapūjā Vasantotsava, etc. are introduced and prescribed for lovers. This chapter on Vinodas is attributed by Rājas'cklarto Kamadeva because these are concerned with pure love. 1. 11. रूपकनिरूपणीयम् । The chapter where the different varieties of Dramas or Rūpakas are explained, is attributed to Bharata the author of the Natyaśāntra. Here the word Rūpaka stanis for Nātya according to the definition of Sāradātanaya which is as follows:- रामादितादात्म्यापत्तिर्नटे या नाट्यमुच्यते । रूपकं तद्भवेद्रूपं दृश्यत्वात्प्रेक्षकैरिदम् ॥ रूपकत्वं तदारोपात्कमलारोपवन्मुखे । Bhāvaprakās'ana p. 180 The fanciful identity of Națas on the stage with Rama etc, is known as Rūpaka because it is so witnessed by the audience. This Nātya or Rūpaka is based on eleven fundamental principles as stated by Bharata in the 6th chapter of his work. The relevant quotation is given below:- रसा भावा ह्यभिनया धमी वृत्तिप्रवृत्तयः । सिद्धिः खरास्तथाऽऽतोद्यं गानं रणश्च सङ्ग्रहः ॥

·126 EXPLANATORY NOTES The whole of the Natyaśāstra of Bharata explains only these 11 principles one after another in 36 chapters. 1. 12. TAHFIRAHI The section dealing with the Rasādhikāra or the explanation of Rasas is attributed to Nandikeśvara. Nandikeśvara is reputed to be the chief follower of Mahādeva and as one of the earliest writers of Kāmas'āstra in 1000 chapters. Cf. वात्स्यायन 1. 1. 8. 'महादेवानुचरश्च नन्दी सहस्रेणाध्यायानां पृथकामसूत्रं प्रोवाच' । This work of Nandi is said to have been summarised by many writers such as, औद्दालकि, श्वेतकेतु, बाभ्रव्य, पाञ्चाल and वात्स्यायन. Here the worl Rasa indicates only the Sirngārarasa and not others namely, Vīra, Kuruņa, etc, which are recognized as Rasas only in Nățya. Because the Nāļyarasas or the emotions produced on the audience while witnessing a drama, and explained by Bharata in the Nātyaśāstra, form the subject matter of the previous Adhikarana Etheauftth of the Kūvyamīmūnsit. The actual Karuna, Vira, Bibhatsa, etc. cannot be called Rasas or enjoyinents as persons having these emotions do not get any enjoyment whatsoever. But when these Rasas Karuņa etc. are enacted by skilful actors with listrionics on the stage, the corresponding omotions of the audience are roused in the form of joy and therefore may be called as Nāt yarasas. According to this explanation, Srigāra alonc is the Rasa par cccellence, and this is treated of by Nandikeśvara in this section. Regarding the authorship of Nandikes'vara, to a work dealing with Srngāra, the commentator on Vātsyāyana (1. 1. 8) records a tradition which runs as follows:- "दिव्यं वर्षसहस्रमुमया सह सुरतसुखमनुभवति महादेवे वासगृहद्वारगतो नन्दी कामसूत्रं प्रोवाच". 1. 12. Daftar I The chapter in which Doşas or blemishes in poetry are treated of is attributed to Dhişaņa or Bệhaspati. It is quite appropriate to attribute this chapter of Doșa to Dhişaņa not only because the intelligence of a very high order is required to find out the Dosis but also because the word fagot is suitable to the scheme of Anuprāsa adopted by the author. All writers on poetics beginning fronı Bharata to Mammaţa excepting Udbhața llave dealt with the Doşas in poetry in their respective treatises. *[1. 13. भोपनिषदिकं कुचमारः ef. "कुचमार औपनिषदिकम् (काम. सू. 1-1-17). Thus it appears that Suvarnanābha and Kucamāra wrote both on poetics and on erotics. ] l. 13. औपनिषदिकम् । This is a new chapter in the history of ·FIRST ADIIYĀYA 127 poetics, introduced by Rājasekhara in accordance with the Kāmasutra of Vātsyāyana and the Arthaśāstra of Kautilya. Kucamāra is mentioned as the original writer on this subject both by Rājasekhara and Vātsyāyana. The object of this chapter must be the same as that of the siqaqfet chapter in the Arthasūstra and the Kāmasūtra. Vātsyāyana describes in this chapter of strafaglethe ways and means to obtain the expected results of Kāma through medicinal plants, Mantras and Tāntric practices. This expediency is recommended by Vātsyāyana for those who fail to gain the enjoyment of Kāina through ordinary means. Kautilya also in his chapter of siltaafe# treats of similar Tântric practices to be adopted by kings in order to subdue the enemies and protect the subjects. Similarly, Rājasekhara also might have dealt with in this chapter the ways and means to obtain poetical excellence by those who fail to gain it by ordinary methods. The underlying motive which led the author to introduce this chapter in the Kävyamīmāṁsā, will become apparent if a reference is made to the statements of Rājasekhara on p. 11. 1. 10, and p. 13. 11. 13, 15. There it is said that a disciple who is devoid of poetical skill either by birth or by training, is called ggf. In order that he may obtain poetical exellence the ways and means for attaining it, are treated of in the chapter of औपनिषदिक. In the other place (p. 12. 1. 22 ) it is said that shqegíti means #saglyanhar a7fff: * [ 11. 14–16. cf. gai aglattiari: 97318 EugzT: sofiagcarpetua faz... af hhalla 97009 FETHUÊ sofia 11! (19.7.1.1. 18 and 19)]. 1. 15. 59 5771( 91 aati Here the original reading as found in the MSS does not seem to be quite appropriate because $4157 is not an Bik.. The suggestion as aikaat seems to be more suitablo because it is considered an important 375 for the 17HTfh. That is to say, there must be soine necessity for composing a work, and this becomes an important factor for the composition of that work. If there is no need for such a work, neither the poet should waste his energy in its composition nor the readers could be interested in a work of that kind. Here in preparing his Kāvyamimāṁsa, Rajasekhara states the necessity for composing the work by the words : gatufcara and faith. In this respect the author entirely follows Vätsyāyana and Kautilya both in arrangement as also in ideas, CJ. Vītsyāyana :- तत्प्रसाचारायणः साधारणमधिकरणं प्रोवाच । सुवर्णनाभः साम्प्रयोगिकम् । घोटकमुखः कन्या. as ·128 EXPLANATORY NOTES + - सम्प्रयुक्तकम् । गोनीयो भार्याधिकारिकम् । गोणिकापुत्रः पारदारिकम् । कुचुमार औपनिषदि- कम् । एवं बहुभिराचार्य स्तच्छास्त्रं खण्डशः प्रणीतमुत्सनकल्पमभूत् । + efeca सर्वमर्थमल्पेन ग्रन्थेन कामसूत्रमिदं प्रणीतम् (काम. स. 1-1-18-19) Also cf. पृथिव्या लाभे पालने च यावन्त्यर्थशास्त्राणि पूर्वाचार्यः प्रस्थापितानि प्रायशस्तानि संहृत्यैकमिदमर्थशास्त्रं कृतम् । तस्यायं प्रकरणाधिकरणसमुद्देशः (Arthaśāstra 1. 1.) 1. 15. ATZINFET Proft This is a compound word by Dvigusamāsa : अष्टादशानामधिकरणानां समाहारः । *[1.16. तस्या अयं प्रकरणाधिकरणसमुद्देशः । f. "तस्यायं प्रकरणाधिकरणसमुद्देशः" ( 719. 8. 1-1-19 ) and speisie (1-1.). TEÁTE:. cf. (18.7.1-1-20 ); also the शास्त्रसंग्रह in Amara's कविकल्पलता. Though the work contains 18 chapters, only 15 headings are here enumerated ]. 1. 16. 9 TOFT FTTHYERT: 1 Prakaranas are the sub-divisions of each Adhikarana and they deal with the different topics coming under the main subject of an Adhikaraņa. It is to be understood by this remark that Prakaraņas of cighteen Arthikaranas in the Kūvyamīmāṁsā are enumerated here. But contrary to this statement and to the method adopted in the Kāma and the Artha s'āstras, we find here enumerated only 15 subjects S'āstrasangraha, etc, of the first Adhikaraņa Kavirahasya but not the Prakaranas of other 17 Adhikaraņas of the Kāvyamīmäinsä. But it is to be noted here that these 15 subjects cover all the 18 chapters of the first Adhikaraṇa. This ditl'erence in number between the chapters and the subjects of the first Adhikaraṇa requires an explanation. It appears that in some places one subject is treated of in more than one chapter and at others one chapter deals with nioro than one subject. In this respect Rājaśckhara differs from the method of the Kāma and the Arthas'āstras while enumerating the Prakaraṇādhikaraņas. In the enumeration of these 15 subjects also he does not follow the exact order adopted by him in the first Adhikaraņa. For example, anfaat:, कविविशेषः and কাক্সক্ষায়: should go after पदवाक्यविवेक, and भुवनकोशः after STÈHT according to the order of the text. This deviation of sequence in the enumeration may be explained by the fact that probably Rājasekhara did not anticipate this chango when he was engaged in composing the first chapter of this Adhikaraņa. It may also be possible that Vātsyāyana and Kautilya did not commit this inistake because probably they wrote their confutagit T after the completion of their works.

·FIRST ADAYAYA 129 Page. 2. 1. 4. TTT: 1 A short description of the Bhuvanakośa is found in the 17th chapter of this work where a geographical division of countries is given. Rājasekhara states on p. 98. 1. 9. that for full information regarding the geography of the world the reader should refer to another work of his, entitled, the Bhuvanakośa. It is, however, doubtful as to whether this Bhuvanakosa is entirely a different work of Rājasekhara or whether it represents the subject matter of the 19th chapter of the present work which is lost. It is, however, highly improbable that this should represent an independent work composed by him. (For further information see introduction). 1. 4. II In the corresponding chapters of the Kāmas'āstra of Vat yāyana and the Arthas'istra of Kautilya, all Adhikaranas of the complete work are enumerated along with their subdivisions. Rājasekhara who generally follows them ought to have mentioned in this chapter, all the righteen Achikaranas of the Kavyamīmāṁsā with their Prakaraņas. But all MSS. of this work now available omit the other Adhikaraņas, and this omission is evident by the word auf. It cannot also be definitely stated that the author himself did not care to mention them here as ho was not sure of composing the next 17 Adhikaranas because such statements as औपनिषदिके वक्ष्यामः, रीतयस्तु पुरस्तात् , अलङ्कारव्याख्यानन्तु पुरस्तात् etc. in different places of this work clearly show that Rajasekhar had a mind to complete this work and that he had already planned it in vighteen Adhikaraņas. It is likely thciefore that the scribes who wanted to preserve only the first Adhikarana of Kavirahasya out of the bulky volume containing the whole, did not mention the other Adhikaranas and Prakaraņas of the works but only referred to the omitted portion by the word इत्यादि. [ P. 2. 1. 5. व्याख्याभाष्यम्-व्याख्यारूपं भाष्यं or व्याख्या and भाष्यम् । separately 3- 1. 5. a platfor This remark shows that Rājasekhara writes liis work in the same Sūtrabhāsya style as adopted by Vūtsyāyana and Kautilya. * Read lines 5-8 as-saqartmani 21167737€parezati समासव्यासविन्यासः सैष शिष्यहिताय नः ।। चित्रोदाहरणैर्गुवीं ग्रन्थेन तु लघीयसी इयं नः काव्यमीमांसा काव्यव्युत्पनिकारणम् ॥ 1 ·130 EXPLANATORY VOTES of. संक्षेपमिममुक्वाऽस्य विस्तरोऽतः प्रवक्ष्यते । इष्टं हि विदुषां लोके समासव्यासभाषणम् ॥ (काम. सू. 1-87)]. 1. 6. 19:1 In ordinary prose writing # 94: is the correct form. In poetry alone this usage is allowed by Pāṇini (6-1-134) in accordance with the usages सैष दाशरथी रामः etc. 1. 9. Hier ga 110: 1 This is the reading found in all MSS. of the work and this may be construed as follows:- AT काव्यमीमांमाख्या मीमांसा विचारः । यत्र-यम्मिन्विचारे। वाग्लवः मदीयो वाग्लवः एतद्वन्थ- T: 11 Some scholars, however, suggest here an alternative reading as मीमांस्यो यत्र वाग्लवः, and this may be construed as: यत्र वाग्लवः- 'poetical compositions' THIRT: I '[1.11. giraf127:=71219TEI99: 1 ] l. 12. कविभ्यः । This word indicates that all poets ara Adhikāris or competent to study this science. Adhyāya II. 1. 15, Qatar: | In the first chapter Rājasekhara gives a list of subjects to be dealt with in his work and, therefore, he names it as Sastrasarigraha. The second chapter he calls as S'āstrapirdesa because he states here the names of different S'āstras which should first be studied by a poet before beginning to compose anything. Both Kautilya and Vātsyāyana have also given similar instructions in the corresponding chapters of their works. 1. 16. 199#zliterature. Literature is of two kinds: Sastras and Kavyas. As the nature of the Kāvyas is to be discussed in this work from the 3rd chapter onwards, here only the nature and divisions of the Sāstras are treated. 1. 17. l Why should the study of the S'āstras be necessary for poets before composing any poem? The answer to this question has been given thus. None can see in darkness without the aid of a lamp, even so, no poet can attempt at writing poems without having efficiency in the S'āstras. Also the Kāvyas follow the S'āstras in every way (see. p. 4. 1. 4-5); therefore, no Kāvya can be composed without having a good knowledge of the S'āstras. * [ 11. 18–22. Cf. Sāyana's preface to the Rgveda-Phūşya, Jaimini Sūtra II. 1. 30. etc. and Viramitrodaya Paribhāṣāprakāśa] ·SECOND ADIYAYA 131 साच Ара- 11. 18-22. SVETI I S'āstra is considered Apauruşey & when it cannot be attributed to any author by tradition, and Paurușeya when it can be traditionally attributed to a particular author. This kind of Apaurușeyabhāva has been predicated with reference to the Vedas by the authors of the Pūrvamīnāinsū but the Naiyāyikas do not consider the Vedas to be Apaurışeya. The authorship of the Vedas is attributed by them to īśvara who represents a Puruşa. etc. Though there are several definitions of the Vedas, the one given here as flat-seems to be the carliest. stamba, one of the carly Sūtrakaras of the Yajurveda gave the same definition in a somewhat different wording, as gut. ägarna741 (Āpas. srau. sutra. 24. 1-31 ). faza etc. This is a definition of Mantra. The chief function of the Mantra is to remind the performers of the different ceremonies to be performed. विवृतं ज्ञापितं क्रियातन्त्रं क्रियाप्रयोगः यैस्ते । There are three kinds of Mantras used in Vedic rites, namely, स्मारक, क्रियमाणानुवादि and अनुमन्त्रणमन्त्र, and these Mantra, remind the priests of the rites to be performed, already performed and of those things that are connected with ceremonies they are performing. Mimāṁsakas, therefore, define Mantras as alterarum H71: Jaimini, however, in one of his Sūtras defines the Mantra as cang A71CH (11-1-32), meaning that those portions of the Veilas only are called Mantras which are traditionally known by that name. Āpastaiba's definition of Mantra is alaTTIGE HH: 1 Ibid 24-1-84). HAMI etc. The Brahmaņa portion of the Vedas chiefly shows the connection of the Mantras with different rites according to the injunction of the Vedas, and each such injunction is always accompanied by some explanation either for praising or denouncing the particular ceremony. These explanations are called Arthavādas. Āpastamba defines the Brāhmaṇa portion of the Vedas as Facal arafat. Ibil 21-1-32. Eta halaqiteta is the function of the Arthavadas. For the definition and classification of the Arthavāda cf. lartaisuart: 1 निन्दा प्रशंसा परकृतिः पुराकल्पश्च । Ibid 24-1-33. This order of the three Vedas is found generally, in early Vedic works. Cf. Apastanubas'rautasütra 24-1-4. But त्रयी।

·132 EXPLANATORY NOTES the order differs in the Arthasastra of Kanțilya where the Samaveda is mentioned first as: HTUTÄCrayar. (1-3-1). अथर्वणवेद is mentioned along with the इतिहासवेद by Kautilya while the present author takes इतिहास amongst the उपवेदs and अथर्वण as the fourth Veda, अर्थव्यवस्थित etc.. The versified portions of the Vedas are called Rks where cach Päda or one-fourth part is required to convey a definite sense. In this respect Rājasekhara follows the definition of Jainini. rifi तेषामृग्यत्रार्थवशन पादव्यवस्था । 11-1-35. Here, however, are ताः सगीतयः। Sāma is represented by Rājasekhara to be the same as the Rks sung in ditlerent tones. But Jaimini detines Suma in his Sūtra aftfag THCA' (II-1-36) as nothing but the Gīti or song. According to him not Rks but Gitis only can be called Samas. Yajus is defined by both Rajasekhara and Jaimini in the saine manner. According to them Yajus is a portion of the Vedas having no metre or Giti. Jaimini defines Yajus as: 47: 357 (II-1-37). 1. 2:. a# etc. The words, #7: 45ira etc. refer to the Mantras and not the Brahmaņa portion of each Veda according to the definitions cited above. the same words useil with reference to the whole Veda including both the Mantra and Bialmaņa portions, on the strength of &TUITIATI 11. 24. सार्ववर्णिकः f. "तम्मात्मजापरं वेदं पञ्चमं सार्ववणिकम्" । नाट्यशास्त्र (1-12). ] 1. 21. gar: 1 078 means here the science of music. These four Upavedas are attached to the four different Vedas as they represent the additional requirements of the four Vedas. 1. 25. IR AT: 1 Music is included by Rājasekhara amongst the Upavedas. He states, however, on the authority of Drauliņi that the science of music which is both a Upaveda and a part of the Sāmaveda, and which is accessible to all castes alike should be called the fifth Veda. Nothing whatever is known of this Drauhii. He is named after Druhiņa or Brahman which shows that he is the son of Brahman. His views are quoted by Rājasekhara onco ugain on page 12 with reference to the division of the / ·SECOND ADHYAYA 133 themes of poetry.or काव्यार्थ. It can only be said here that he must have been the author of some treatises on Music and Dramaturgy, as a quotation under his name is also found in the Bhāvaprakāśalia p. 239. 1 which relates to the subject of Dramaturgy. . 1. 1. A द्वा सुपर्णा. Page. 3. [1. 1. अजानि-अन्यन्ते ज्ञायन्तेऽमीभिरित्यङ्गानि उपकारकाणि. Rhetorics also helps in correctly interpreting the Vedic texts; so it is called the seventh Anga. ). सप्तममङ्गम्। . यत् क्षेमं त्रिदिवाय वर्म निगमस्याङ्गं च यत्सप्तम स्वादिष्ठं च यदेक्षवादपि रसाचक्षुश्च यद्वाङ्मयम् । तद्यस्मिन् मधुरं प्रसादि रसवत कान्तं च काव्यामृतं सोयं सुभ्र पुरो विदर्भविषयः सारखतीजन्मभूः ॥ Bälarimiiyana, 10. 74. Here the whole theme of poetry and not Alankara alone is stated by Rajasekhara as the 7th Anga for the Vedas. [ 1. 3. द्वा सुपर्णा (श्वेताश्वतर 4-6 ). | 1.3. etc. ( go5. 3. 1. 1.). Sankaracārya's commentary on this Mantra runs as follows:-द्वा-द्वौ । विज्ञानपरमात्मानों सुपर्णा=सुपणे शोभनपतनी शोभनगमना मुपों पक्षिसामान्याद्वा सुपी । सयुजा-सयुजो सर्वदा संयुक्तौ । सखाया- सखायो समानाख्यानो समानाभिव्यक्तिकारिणी । एवं भूतो सन्ती समानं वृक्षं-वृक्षमिवोच्छदसामा- न्यादृक्षं शरीरं परिषस्वजाते परिवक्तवन्ती । तयोरन्यः अविद्याकामवासनाश्रर्यालगोपाधिः विज्ञानामा पिप्पलं-कर्मफलं । म्वादु-अनेकचित्रवेदनाम्वरूपम् । अत्त्युपभुङ्गेऽविवेकतः । अनननन्योऽभिचाकशीति। नित्यशुद्धबुद्धमुक्तम्वभावः परमेश्वरः सर्वमपि पश्यन्नास्ते इति । (श्वेताश्वतर. 4-6). Here two figures of speech are combined and these are the Rūpaka and the Vyatireka. The human body is the repository of two souls, Jiva and Isvara ; they exist in the body simultaneously. This idea has been metaphorically expressed in this Mantra by means of such things as trees, birds etc. In tlie second half Vyatireka may be explained in the following manner: though the two Ātmans are quite similar, one sustains itself by means of sweet fruits of the tree and the other shines even without taking anything. By this the superiority of īśvara is clearly brought out. In this way the knowledge of Alankara helps in correctly interpreting the Vedic texts.

·134 EXPLANATORY XOTES * 1. 15. [1. I. TT191827167179 1 / प्रकृतिप्रत्ययोपाधिनिपातादिविभागशः । पदावाख्यानकरणं शास्त्रं व्याकरणं विदुः ॥ (अभिधानचिन्तामणि टीका).] 1. 11. पुरस्तात् । In the first chapter, Rūjasekhara has already intimated that the Alarkāras will be treated of in nine Adhikaraņas ( 4-12) of the Kūvyamīmāmā. This word gren, now indicates that Rajasekhara had already planned the further Adhikaranas of this work. This śloka is more coinmonly read as:--- रार्गश्च प्रतिसर्गश्च वंशो मन्वन्तराणि च । घंशानुचरितं चैव पुराणं पञ्चलक्षणम् ॥ 1. 17. Mājasekhara's view regarding Itihasa has already been mentioned; he includes it among the Upavedas. (p. 2. 1. 23.). Itilāsá is of two kinds: परक्रिया and पुराकल्प । All MSS. read here its qfafar but the correct reading seems to be परक्रिया. Tho Arthavidas of four classes: निन्दा, प्रशंसा, परकृति and पुराकल्प, are known as parts of the Vedic injunctions, fara or falta The last two divisions of the Arthavīda are considered as Itibäsa. For the four divisions incluling qua and yet, see the à pastambas'rautasutra, 24-1-33, Gautama's Nyayasutra 2-1-64, Sābarabhasya on 11-1-3:), Vāyuparāņa 59, 136-137, and Jaimini 6-7-20. 1. 20. These two classes of Itiläsa can be distinguished by their names alone as they forcibly bring out the characteristics of each. Rūjasekhara seems to have defined the two classes in accordance with the Vedic illustrations of the two kinds of Arthavāda. These are :-- इति ह स्माह बटकुर्वाणिर्माषान्मे पचत न वा एतेषां हविण्हन्ति for परकृति, and उल्मुकैह स्म पूर्व समाजग्मुस्तान्ह असुरा रक्षामि निर्जन्नुः for पुराकल्प । 1. 22. सहस्रेण । This word should not be taken as literally true because the Brahnamiinäinsă does not consist of a thousand Nyāyas; the word may, however, refer to the Dharmamīmāṁsā where a thousand Nyayas are treated of, 1. 24. The fourteen Vidyāsthānas are enumerated by Yājnavalkya in his Smộti (1-3) in the following versc: पुराणन्यायमीमांसाधर्मशास्त्राङ्गमिश्रिताः । वेदाः स्थातानि विद्यानां धर्मस्य च चतुर्दश ।।

·SECOND ADHYAYA 135 1. 26. भूर्भुवः खः। विद्या or knowledge acquired through these fourteen sources pertain to all things existing in the three worlds, earth, sky and heaven. 1. 27. In this verse Rājasekhara expresses his inability to supply a complete list of works and subjects included in caclı Vidyāsthāna as it will be too long and will occupy much space. Page. 4. [11. 6–1:1. Cf. TIF 1~-. and for 11. 22-24 Cf. Ibid 1-4.] 1. 3. After stating the traditional division of the S'istr 15, the author expresses here the opinion that Kūvya which is the second main division of literature should be classed as another Vidyāsthāna ay it follows the other Vidyāsthānas in many respects and that its position should be the 15th in the list of the Vidyasthānas. 1. 4. गद्यपद्यमयत्वातtc. These are the three reasons to show how poetry follows in the foot-steps of the S'āstras. The reading तद्धि tieri for etc. in C Ms. is preferred to that of A and B, as the same idea finds an expression earlier on page 2. 1. 17. 1. 6. All the eighteen sources of Vidyā or knowledge are said to be absolutely necessary for every person in his daily observance of Dharma, Artha, Kima and Mokya which together coustitute the Lokayātrā or worldy existence. Jl. 14-15. ITere the method of treatinent of Vidyās is generally in keeping with the Arthaśāstra of Kautilya. According to the definition of Vidya : आभिर्धर्माथी यद्विद्यात्तद्विद्यानां विद्यात्वम् , it is clear that only those sciences are considered here as Vidyās through which Dharma and Artha can be gained. On the strength of this definition of Vidyi, Sāhitya also is included as the fifth Vidya. Il. 16-21. Kautilya defins आन्वीक्षिकी thus: बलाबले चैतामा ( teftaraizozofifai ) 1H2=4791011 377ation, and includes the three philosophical systems सांख्य, योग and लोकायत under the main head of analiteit. But Vātsyāyana, in his commentary on the Nyayasutra of Gautama defines it as प्रत्यक्षागमाभ्यामीक्षितस्यान्वीक्षण- Hey i agrada cara yaTI 541917 1 (1-1-1). Thus the four systems of philosophy are considered as आन्वीक्षिकी Rājasekhara augments the number of the saints by adding ·136 EXPLINATORY VOTES two more systems of philosophy and by distributing them into two groups पूर्वपक्ष and उत्तरपक्ष. The philosophy of the Jains, Buddhists and Cārvākas is included in the former while that of the Sănkhya, Nyāya and Vaišeșika is taken up in the latter. These six schools are called by the single name of Tarka. Gautama defines Tarka in his Nyiyasutra as अविज्ञाततत्त्वेऽर्थे कारणोपपत्तितः तत्त्वज्ञानार्थमूहस्तर्कः । (1-1-40.). As these six schools of philosophy tiy to discover the real nature of the universe, soul, body and other connected objects, they are collectively known as Tarka. This Tarka is based on three varieties of arguments in order to decide the truth or otherwise of a statement. These arguments are commonly known as Kathā which consists of three members : वाद, जल्प and वितण्डा । ( sce Vāt yāyanabhāsya on Gautama (1. 2. 1-3) for the definitions of Vāda, etc ) | 25. Here the author while generally defining the S'istras shows also the correct method of their composition. In the course of his definition, he mentions that the S'istras were originally composed in the form of Sūtras: commentaries and explanations then followed, and the Süstras expanded just as the rivers expand in the course of their progress. Page. 5. STOTIL I Thin root siitra means वेष्टन that which encircles, A Sūtra, indeed, 'encircles or includes many things within a short space. Similarly, S'astric Sūtras also are concise technical sentences which express the maximum idea in the miniinum of space. 1. 2. The well-known and the most popular definition of Sūtra is given in this verse. Cf. Vāyupurāņa 59, 142. There is another definition which also deserves to be cited this connection: लघुनि सूचितार्थानि खल्पाक्षरपदानि च । सर्वतः सारभूतानि सूत्राण्याहुर्मनीषिणः ॥ 1. 3. SKIH I The word with signifies a letter or a group of letters which serves no purpose in making out the sense of a sentence and is, therefore, considered redundant. considered redundant. Such words are very common in the Sāmaveda. The letters , 95 etc. are examples of it. In Sūtras all redundant letters should be eschewed, 1. 1. Ol ·SECOND ADHYAYA 137 1. 4. Vrtti.is the first concise commentary on the Sütras. In all Darśanas, or sciences, for instance, the Vịttis generally precede the more comprehensive Bhāșyas. 1. 5. In the Bhāşyas, the authors spontaneously raise points of objection in the succeeding portions which seem to militate against the views expressed in the preceding portions of their own text. This is what is known as anfceT HITTAI ET I This word seems to have been used here in the sense of परीक्षा. Generally there are three divisions in the Bhāşyas i. e. उद्देश, लक्षण and परीक्षा. The Nyāyasūtra and its Bhāşya deal with the gfiat portion in a more comprehensive manner than tlie other philosophical works. 1. 6. A concise commentary on Sūtras or Bhāşyas is called a Ar. The rear of Kumārilabhatta may be cited as an instance where the commentator only touches the very important points of the Sūtra and the Bhāşya of the Mimāṁsāśāstra. Brevity of this Aer will be apparent when it is compared with the other works of his, which nro designated by him as the Virttikas, on the S'ābarabhişya. 1. 9. After describing the different divisions of the Sastras, the author here relates the function of a poet who endeavours to compose verees on S'āstric subjects. The S'lokavärttikir of Kumārila, the Sangraha of Vyādi and the Vākyapadiya of Bhartrhari may be taken as illustrative of the qualities of a S'āstrakavi, For further information regarding the Sāstrakavi and his abilities when compared to those of a Kavyakavi, see p. 17. 11. 5-17 of this work, 1. 11. The treatises dealt with above follow the methods of the original Sūtra works and commentaries thereon. But the Prakarana works which appear to be independent treatises introduce only the chief subjects of a S'āstra in order to make the student better fitted for prosecuting higher studies in that Sāstra. 1. 13. S'āhitya which is the fifth Vidyā in the Rājasekhara's schenre of enumeration is defined in this sentence. For the explanation of the phrase 49197 haha see Bhoja's definition of 96 ·133 EXPLANATORY NOTES Sāhitya in his Slțăgăraprakasa ( VII ) where it is explained in the following words: तत्राभिधाविवक्षातात्पर्यप्रविभागव्यपेक्षासामर्थ्यान्वयैकार्थाभावदोषहानगुणोपादानालङ्कारयोगर- सावियोगरूपाः शब्दार्थयोद्वादश संबन्धाः साहित्यमित्युच्यते ॥ Following this statement of Bhoja, S'āradātanaya in his Bhăvaprakāśana (p. 145. 11. 6-12) defines Sāhitya and gives several illustrations. The twelve varieties of relation between the S'abda and its Artha as described in the above quotation from Bloja are probably indicated by Rajasekhara in the phrase, यथावत्सहभावेन विद्या. It It may also be remembered here that Kālidāsa makes a mention of this Sāhitya of S'abda and Artha in the beginning of his Raghuvamsa. [ I. 14 For the 61 kaläs see F147 1–3–16 ] ]. 14. 64 Upavidyās are enumerated by Vātsyāyana in his Kiimasūtra 1-3-16, Another set of 64 Argas of the Pāñcālas also is mentioned in the above work to complete the rigut haitot of the Kāmasītra. Vātsyāyana himself calls these Upavidyās by the coinmon name of Kalā in his Kāmasūtra ( 2-2-3.) 315fta:livelihood. These Kalās are introduced as a matter of necessity in the best Kāvyas, and, therefore, it is necessary that poets should be well conversant with these subjects. 1. 15. The last Adhikaraņa of the Kāvyamimāṁsā is called aitafagfc# where directions are given for obtaining poetical excellance through magical practices, such as the practice of Mantras and Tántric rites. This statoment also indicates that Rājasekhara wanted to complete the present work in eighteen Adlikaraņas. Adhyāya. III. 1. 20 काव्यपुरुषोत्पत्तिः । In this chapter the author traces the origin of metrical composition, gives an account of its subsequent developments in chronological order, and makes an endeavour to connect them with the customs and manners prevalent in the different parts of India. And in doing so, he travels beyond the range of history to mythology and traces the origin of poetry from an imaginery Kávyapuruşa who is supposed to be the embodiment of the whole classical literature.

·THIRD ADAYÄYA 139 He is the son of Sarasvati, the goddess of learning, and is brought up in the hermitage of Kavi. The author describes his marriage with Aumeyi the embodiment of Sähityavidyä or the science of poetry. This Kāvyapuruşa is described in the first chapter as the earliest teacher of the Kāvyamīmāṁsā and as a divine being from whom poetry took its origin. 1. 23. TE: 1 Kavyapurusa was the preceptor of Dhişaņa or Bịhaspati because he received instructions on the Kävyamimämsä from Sārasvateya, and composed a chapter on it dealing with the Doșas ( see p. 1. 1. 12. ) Erai gla: 1 The word Brhaspati is formed according to the rule of Paņini ( 6-1-157 ) and thus it denotes a divino being. 1. 24. gTdt=being desirous of a son. GATA=mountain of snow i. e, the Himālayas. Page. 6. 1. 1. To complete the quotation 'पुत्रं ते सृजामि' the word इति is to be added at the end. But as in many places Rājasekhara overlooks this dictum, à has been added in the present edition wherever found necessary. 1. 2. Ergerai 917#=metrical composition. In the mythological story related by Rājasekhara, the reason why Sarasvati was desirous of obtaining a son is not clearly explained. Moreover, Brahmā is lere mentioned as the creator of Sarasvateya. But the story of the birth of Sarasvateya as recorded in such earlier works as the. Vāyupuraņa, Mahābhärata and Harşacarita differs in some important points from the story recorded in the present work by Rājasekhara. Bāņa in his Harşacarita gives adequate reasons why Sarasvati came down to eartlı, married Dadhica, the son of Cyavana, and gave birth to Sārasvateya. These reasons are not found in any of the Purāņas. In the Vāyupurāņa also, only the story of the marriage of Sarasvati with Dadhica, son of Cyavana, and of the birth of Sārasvata who became a master of all sciences through her blessings, is recorded, mostly on the model of Baņa ( see Vayu-Adh. 65 ). The fact that in this respect Vāyupurāņa was followed by Bāņa is clearly apparent not only because that a number of ·140 EXPLANATORY NOTES quotations from that Purūņa is to be found in the Harşacarita, but also because the name of that Purāņa is definitely mentioned by Băņa as qaragangaror in the 3rd chapter. The case of the Mahābhärata is altogether dillereut. Here various stories are recorded concerning the birth of Sārasvateya, the son of Sarasvati. All these authorities, however, are unanimous in holding that he was vastly learned in the Vedas and that he transmitted his knowledge to others. (see S'antiparvan, Adh. 359 and S'alyaparvan Adh. 52. of the Mahābhārata ). It is said in the S'antiparvan of the Mahābhārata that God created a Sārasvata through Sarasvati and asked him to learn the Vedas himself and transmit his learning to others. This Sārasvata was also known by the names of Vyāsa and Apantaratamas, and he in accordance with the above instruction, spread the knowledge of the Vedas in the world. A similar story is also found in the S'alyaparvan where it is said that the creative energy of the sage Dadhici was transmitted to the river Sarasvati when he was overpowered by passion on seeing Alambusa a divine dancing girl. As a result, tlie river Sarasvati, obtained a son and he was carried by her to Dadhici, his father. This Sārasvatoya taught the Vedas to the Hages when they forgou them owing to a severe famine which lasted for 12 years, Asvaghoșa, in the first century A. D. also records the same story regarding Sārasvateya in his Buddhacarita (1-47.) 1. 3. Jaaa etc. In the first half of this verse a clear oxposition of the S'abdabrahmavāda as developed by Bhartphari in his Vākyapadiya, has been made. According to this school of philosophy, the S'abdabrahma or Nāda, which out from God when he desired to create the world, is the cause of the universe which is enveloped in Vivarta or the illusory form of existence. When this illusion is removed by means of Vidya or true knowledge there remains only the Nāda S'abdabrahma. This Nāda is also called Parāvāk. From this Parā vāk, Paśyantī, Madhyamā and Vaikharī, the three other kinds of speech, are produced. Here Madhyamāvāk has the property of Sphoța which reveals the knowledge of Artha from ·THIRD ADHYAYA 141 the Sabda. The things that are kuown or meant by the words have also no separate existence from the words, though they appear to exist separately. In support of this theory, the following verses appear in Bhart;hari's Väkyapadiya:- अनादिनिधनं ब्रह्म शब्दतत्त्वं यदक्षरम् । विवर्ततेऽर्थभावेन प्रक्रिया जगतो यतः ॥ यो वाऽर्थों बुद्धिविषयोऽबाह्यवस्तुनिबन्धनः । स बाह्यं वस्त्विति ज्ञातः शब्दार्थः सम्यगिष्यते ॥ शब्दोपहितरूपांश्च बुद्धेविषयतां गतान् । प्रत्यक्षमिव कंसादीन् साधनत्वेन मन्यते ॥ न सोऽस्ति प्रत्ययो लोके यः शब्दानुगमाते । अनुविद्धमिव ज्ञानं सर्वं शब्देन भासते ॥ अत्यन्तासत्यपि ह्यर्थे ज्ञानं शब्दः करोति हि। etc. For further information regarding the S'abdabrahma and Vivartavāda a reference may be made to the Laghumañjüşā of Nāgesabhatủa. विवर्तते। Vivarta is the illusory existence of a thing; for example, as the illusory existence of a serpent in the rope when it is mistaken for a snake. 1. 4. Spiel This is an indeclinable particle meaning "I'mor 3164. 1. 9. CAETH I etc. So long Vālmīki was considered to be the first to write in the classical s'loka metre, and the first composition attributed to him is the verse: A faare, etc. (See Rāmāyaṇa. 1-2.) According to Rājasekhara, however, this verse of Vālmīki is much later than the compositions of Kūvyapuruşa and Uśanas who were the two earliest inventors of the sloka metre. रस आत्मा। 1. 12. Rasa is the soul of the Kávya. There are several standards of literary criticism in the history of Sanskrit poetics, and amongst them the theory of Rasa as the soul of poetry may be considered to be the pre-eminent. This theory was first conceived and developed by Bharata in his Nātyaśāstra for the purpose of dramatic composition. The importance of Rasa, however, was not fully recognized by later critics such as Bhâmaha, Daņdin, and Vamana standard of literary criticism with • reference to compositions other than the drama. But the later critics advocated different thcories of Alankāra, Guņa, as a ·142 EXPLANATORY NOTES vas Riti, Dhvani, Vakrokti, Anumiti and Aụcitya, and were of opinion that these principles were the essential factors in the best form of poetical composition other than the drama. During this period, the theory of Rasa underwent many changes and modifications in the hands of those who belonged to the other schools of literary criticism. In the middle of the 9th century Anandavardhana revived the theory of Rasa and held that Rasa Dhvani is the chief principle in all poetical compositions including the drama. This theory of Dhvani though well established by Ananda did not meet with general approval amongst a large number of critics during the period from 850 to 950 A. D. as they were content with the original Rasa school of thought started by Bharata and applied the same principle to both classes of the literature, of the literature. Prominent among them were Rudrata, Bhattanāyaka, Dhananjaya, and Dhanika. Rājasekhara flourished during this period (cir 900 A. D.) and he led to adopt the trend of literary criticism as was prevalent in his days. Thus, he hell that the Rasa and not Dhyani is the soul of the Kilvyapuruşa. Again, at the end of the 10th century A. D. the theory of Rasadhvani was revived once more by the great Kashmirian scholar Abhinavagupta following in the foot-steps of Anandavardhana. Rājasekhara did not even mention Dhvani as a part of the Kīvyapuruşa or as the subject-matter of any of his eighteen chapters because in his time even the existence of Dhvani in poctry was not recognised by critics. For further information regarding the history of the Rasa school see the introduction to the Bhävaprakāśana (G.O.S. No. 45). * [ 1. 15 चत्वारि शृङ्गा प्रयो भस्य पादा द्वे शीर्षे सप्त हस्तासो प्रस्य । fogul agt gut iicaffat het dat het aa'at il (grãe 3-8-10-3). For the different interpretations of this Ķk see Sāyana's Bhāşya, Yaska's Nirukta 13-18 and Patañjali's Mahâbhāșya 984871. Both the MSS. of the Kävyamimümsü read niet and far- विवेश. cf. सप्त स्वराः, त्रीणि स्थानामि, चत्वारो वर्णाः, द्विविधा काकुः, षडलधाराः, षडानि इति । Taaritia chapt. 17 ] 1. 20. उशना परिवृत्त etc. The fact that Sarasvateya Kávyapuruşa was brought up by Uśanns or Kavi, as mentioned by ·THIRD ADIYĀYA 143 Rājasekhara, not only shows that no rule of grammar (Pāṇini 4-1-151 ), is violated in the derivation of the word Kävyapuruşa (the son of Kavi ) but also proves the propriety of using the famous name of S'ukra as Kavi ( sie. HITIAN. 1-3-25 ). *[ll. 23-24. या दुग्धाऽपि न दुग्धेव found in some MSS. of दमयन्तीचम्पू of त्रिविक्रम as मङ्गलश्लोक]. 1. 25. TEOF=after repeating this composed by Usanas. verse ga: ga i After this event Ušanas is called Kavi because of his paternal affection towards the young Kāvyapurușa and also because he himself composed a verse ar garlo a grea etc. 1. 26. agtarta i Due to the secondary capacity of the words (). Poets are called Kavīs because they are also engaged in the composition of versos as Ušanas or Kaavi did in olden days. Page, 7. 1. 1. Fall girl Päņinīyas take the word qui here to represent colour and derive words such as कर्बुर, कबरी etc. fronm this root कवृ. The word Kivi is generally derived by them from the root FC Toa; Birt being added in accordance with the Uņādi rulo 317 3: (4-138). Ujjvaladatta in his Uņādisūtravrtti derives the word Kavi from the roots कु वणे or कु शब्दे (see. 4-138). But the Dhātupātha of Pāņini reads two roots i and sand states 72 only as their meaning. Rājasekhara, however, seems to derive the word Kavi from the root क वर्ण which is not possible according to the Uņādi rule 847 : and seems to take the word qof to mean qofa or description. Following the derivation of Ujjvaladatta on 1-138 of Uņādisītra, the reading Faq qif may be changeul here as Fraði. 741 It is the secondary capacity of the world called the लक्षणा or गौणी. The word Kavya signifies poetry through the primary capacity known as the and Sārasvateya through the secondary capacity (Swall) as he is the personification of poetry. 1. 4. aittifa: 1 Vālmīki also is brought here by Rājasekhara to play his role because the epithet of Kavi applies to both .S'ukra and Vālmīki (affaqirirya41:-nfaat) and particularly to Vālmīki as he is designated by all poets as the flat, 1. 2.

·144 EXPLANATORY NOTES 1. 5. : = of S'ukra. Bhỉgu is the son of Brahman and S'ukra is Bhrgu's son. This shows the source Vāyupurāņa from which the author conceived the idea underlying the story of Sārasvateya. The Vāyupurana and the Harşacarita mention that Bhry'u's grandson Dadhici obtained a son Sārasvateya through his wife Sarasvati. Sce. Vāyu. 65, 88-91. and Harşacarita. I. 1. 7. Braafura:=blessed by Sarasvati. 1. 8. निषादनिहतसहचरीकं क्रौञ्चयुवानम् । Here Rijasekhara states that the feinale Krauñca was hit by the Nişāda and the male Krauñca was lamenting in the presence of Vālmīki. But this statement goes against the description of the event recorded in the Rārnīyaņa. CI. तम्याभ्याशे तु मिथुनं चरन्तमनपायिनम् । ददर्श भगवांस्तत्र क्रौनयोश्वारुनिःस्वनम् ॥ तस्मात्तु मिथुनादेकं पुमांसं पापनिश्चयः । जघान वैरनिलयो निषादस्तस्य पश्यतः ॥ तं शोणितपरीतांगं वेष्टमानं महीतले । भार्या तु निहतं दृष्ट्वा रुराव करुणां गिरम् ॥ Rāmāyaṇa 1.2. 9-11. There is a similar statement made by Āņandavardhana in his Dhvanyāloka (p.27) as under : संनिहि(ह)तसहचरीविरहकातरक्रौञ्चाक्रन्दजनितः शोक एव श्लोकतया परिणतः। which also seems to go against the Ramayana of Vālmīki. Probably this passage of Ānandavardhana may be at the back of Rājasekhara's statement because the word Safea or fara construed with the word aan gives a different meaning as stated by hion in the passage निषादनिहतसहचरीकम् । But Abhinavagupta subsequently in his Locanā got over the discrepancy by mending the passage of the Dhvanyāloka in the following manner: संनिहतसहचरीविरहकातरक्रौन आक्रन्देन च जनितः शोकः । In this emendation, the word daca is construed not with सहचरी but with aौच who represents the विभाव, whereas the आक्रन्द of the female 19 is 12 for the pit of Vālmīki. Cf. Locanã : संनिहतसहचरीति विभाव उक्तः । आक्रन्दितशब्देनानुभादः। (p. 28. 1. 8.) *11.10. Hilante etc. Cf. 177# 1-5. et. seq. ] ·THIRD ADHYAYA 115 1. 10. By introducing here this verse and the story of Vālmīki, Rājasekhara reminds us of a similar narrative found in the beginning of the Rāmāyaṇa. It is said there that Brahman induced Sarasvatī to bless Vālmīki with poetical skill. After obtaining her blessings Vālmīki began his compositions, and this verse or farare etc. was his first metrical composition. Cf. मच्छन्दादेव ते ब्रह्मन् प्रवृत्तेयं सरखती। रामस्य चरितं कृत्रं कुरु त्वमृषिसत्तम । Rāmāyaṇa 1. 2. 31. As Rājasekhara wanted to trace the earliest history of metrical composition in this chapter, it is but natural that he should bring Vālmīki's composition after that of Kāvyapuruşa and S'ukra. According to Rajasekhara, therefore, the first Kavi or author of metrical composition is Kāvyapuruşa ; the second is S'ukra who brought up Kavyapuruṣa in his hermitage and composed a verso; while the third is Vālmīki who led Sarasvati to the placo of her son and began composing verses. 1. 21. कुमारः। Kārtikeya the son of Gauri was a friend of Kāvyapuruşa and he felt very uncomfortable when the latter made an attempt to run away. 1. 23. नान्यत् । In this connection, the verse occurring in this work on page 66, is noteworthy: दृष्ट्वाऽन्येभं छेदमुत्पाद्य रज्वा यन्तुर्वाचं मन्यमानस्तृणाय । गच्छन्दः नागराजः करिण्या प्रेम्णा तुल्यं बन्धनं नास्ति जन्तोः ॥ 1. 25. Bigadei Anda a Sāhityavidya is the realisation of the connections that exist between the S'abda and the Artha. By this statements Rājasekhara wants to convey that Sāhityavidyā alone is able to revive the creative faculty in poets even when poetry is extinct. 1. 26. groffarantaT: 1 Kāvyavidyāsnātakas are those who after studying the Kāvyavidyā begin to compose poems. Pages. 8-9. *[ Read तत्राभियुजाना तमौमेयी यं वेषं यथेष्टमसेविष्ट स तत्रत्याभिः स्त्रीभिरन्वक्रियत । सा प्रवृत्तिरौड्रमागधी etc. This portion This portion seems to have been based on Maar chapter. 13. of. चतुर्विधा प्रवृत्तिश्च प्रोक्ता माट्यप्रयोक्तृभिः । आवन्ती दाक्षिणात्या च पाञ्चाली चौडमागधी ॥ १९ ·146 EXPLANATORY NOTES अत्राह-प्रवृत्तिरिति कस्मात् । उच्यते-पृथिव्यां नानादेशवेषभाषाचारवार्ताः ख्यापयतीति प्रवृत्तिः । प्रवृत्तिश्च निवेदने । अत्राह -यदा पृथिव्यां नानादेशाः सन्ति, कथमासां चतुर्विधत्व- मुपपन्नम् । समानलक्षणश्चामां प्रयोग उच्यते । एवमेष समानलक्षणप्रयोगः । किंतु नानादेशवेष. भाषाचारो लोक इति कृत्वा लोकानुमतेऽनुवृत्तिसंश्रितस्य नाट्यस्य मया चतुर्विधत्वमभिहितं भारत्यारभटी सात्वती कैशिकी चेति । वृत्तिसंश्रितश्च प्रयोगैरभिरता देशाः । यतः प्रवृत्तिचतुष्टयमभिनिवृत्तं प्रयोगश्चोत्पादितः । तत्र दाक्षिणात्या भवेत् बहुगीतनृत्यवाद्या कैशिकीप्राया चतुरमधुर. ललिताहाभिनया । यथा- महेन्द्रो मलयः सद्यो मेलकः पलपिञ्जरः । एतेषु संश्रिता देशाः स ज्ञेयो दक्षिणापथः ॥ कोशलास्तोशलाश्चैव कलिङ्गा एव गोशलाः । द्रविडान्ध्रमहाराष्ट्रा वैण्या वै वानवासजाः ॥ दक्षिणस्य समुद्रस्य तथा विन्ध्यस्य चान्तरे । ये देशास्तेषु युनीत दाक्षिणात्यां तु नित्यशः ॥ आवन्तिका वदिशिकाः सौराष्ट्रा मालवास्तथा । सैन्धवास्त्वथ सौवीराः आनर्तास्साबुदेयकाः ॥ दाशार्णास्त्रपुराश्चैव तथा मार्तिका मताः । कुर्वन्त्यावन्तिकीमेते प्रवृत्ति नित्यमेव तु ॥ सात्वती कैशिकी चैव वृत्तिमेषा समाश्रिता । भवेत्प्रयोगो नान्यत्र स च वार्यः प्रयोक्तृभिः ॥ अङ्गा वङ्गाः कलिङ्गाश्च वत्साश्चवौडमागधाः । पौण्ड्रनैपालिकाश्चैव अन्तर्गिरिबहिर्गिराः ॥ तत्र वजसमा ज्ञेया मलदा मल्लवर्तकाः । ब्रह्मोत्तरप्रभृतयो भार्गवा मार्गवास्तथा ॥ प्राग्ज्योतिषाः पुलिन्दाश्च वैदेहास्ताम्रलिप्तकाः । प्रागाः प्रावतयाश्चैव युञ्जन्ति यौट्रमागधीम् ॥ अन्येऽपि देशा एभ्योपि ये पुराणे प्रकीर्तिताः । तेषु प्रयुज्यते ह्येषा प्रवृत्तिस्त्वौड्रमागधी ॥ पाञ्चालमध्यमायां तु सात्वत्यारभटी स्मृता । प्रयोगस्वल्पगीतार्थ आविद्धगतिविभ्रमः । पाञ्चालाशौरसेनाश्च काश्मीरा हास्तिनापुराः ॥ भाह्रीकाः शाकलाश्चैव मद्रकोशीनरास्तथा । हिमवत्संश्रिता ये च गङ्गायाश्चोत्तरां दिशम् ॥ ये श्रिता वै जनपदास्तेषु पाञ्चालमध्यमा । The verses आर्द्रचन्दन and आ मूलतो are quoted in सदुक्तिकर्णामृत (II-86 and 99) under Rajasekhara. P. 8. 1. 23. A reads परिमण्डलितान्तरीयम् instead of परिमण्डलितोत्तरीयम्. P. 9. 1. 26. Read "अनन्तानपि हि देशांश्चतुर्धेवाकल्प्य कल्पयन्ति चक्रवर्ति क्षेत्रं यमासेन । तदवान्तरविशेषः पुनरनन्ता एव" इति यायावरीयः । ] ·THIRD ADHYAYA 147 1. 9. part of ery etc. After tracing the origin and history of metrical composition, the author in the next two pages (8-9) seeks to explain the varieties of poetical composition in accordance with the natural surroundings, and customs and manners of the different people. These are called styles and Rājasekhara classifies them into four distinct groups. These four groups, each consisting of Pravịtti, Riti and Vịtti, are already mentioned by Bharata in chapter 13 of his Nāțyaśāstra. Rajasekhara adds to the description of the four groups, four verses of his own, describing women's clress in four parts of India with the preamble-ai à gausratga: and seeks in these pages to discover scientific explanations for the different styles of writings which existed in early Sanskrit compositions. Incidentally, he mentions also the four Pravrttis or वेषविन्यास, Vrttis or विलासविन्यास and Ritis or agafaretra adopted by the people living in the four divisions of India. In the casteru India, there are: Audramāgadhi Pravștti, Bharati Vịtti and Gaudiya Rīti. In the Pāñcāla country, there exist: Pāncālamındhyamā Pravrtti, Sattvati and Ārabhati Vrttis and Pancāli Rīti, The countries of Avanti ctc. have: bave: Avanti Pravștti, Sättvati and Kaisiki Vịttis. The Southern part of India has: Dākşiņātyā Pravrtti, Kaisiki Vịtti and Vaidarbhi Riti. Among the Pravșttir, Vittis and Ritis mentioned above Rājasekhara seems to attach a relative superiority to the Vaidarbhi, Kaišikī and Dākşinātyū style of the southern India; because he states that Kāvyapuruşa was pleased and brought under control by Sāhityavidyāvadhū only through the style current in South India. It seems, however, strange that he failed to recognize the Lātīyā Rīti of the dialects of the countries Avanti etc. though the whole of the Avanti or Lāța country had been frequently described by him in his works. (See Kāvyamīmāṁsā p. 34. 1. 7 and Balarāmāyaṇa, act X). The reason for this, seems to be that he did not favour the idea of creating a new Rīti of Lātīyā as proposed for the first time by Rudrata, because there is not much difference between the two Ritis, Pāñcāli and Lāțīyā. In the history of the development of Rītis, Bhānaha did not acknowledge the existence ·148 EXPLANATORY NOTES of distinct classes of Riti such as Gaudiyā and Vaidarbhi ; while Daņdin in his work established the relative superiority of the Vaidarbbi style over that of the Gaudi. To these two, Vāmana added a third, the Pāñcāli, and Rudraţa a fourth, the Lātīyā. Thus four Rītis were acknowledged by critics in the period when Rājasekhara flourished ; but he recognized only three Rītis after omitting the Lāțīyā. This fact he again mentions on p. 10. 1. 5. Page 10. 1. 2. For the complete description of the Cakravartikşetra, see p. 92 of the Kūvyamīmāṁsā. 1. 3. Beyond the Cakravartikşetra, there are the lands called Harivarşa and Kimpuruşavarşa which are the abodes of divine beings. 1. 5. faa: 1 Rudrața who flourished before Rājasekhara and who is often quoted in this work, had acknowledged four Rītis including the Lātīyū in his Kāvgalaňkīra (2. 4-6.). The reason why Rājasekhara did not recognise the fourth Rīti is already mentioned. पुरस्तात् । Rītis are proposed to be treated of in the third Adhikaraņa Rītinirņaya' as enumerated on the first page of the Kāvyamimāṁsā. This statement also clearly shows that Rājasekhara wanted to complete this work in eighteen Adhikaraņas. For the three Rītis see p. 31. 1. 6. of the Kāvyamimarsā. * [1. 6. वत्सगुल्मम् । of. अभूतां दाक्षिणात्यस्य द्विजातेः सोमशर्मणः । acaganfaat yai...... !! (LEFFAASA. 1. 3. 4.)] दक्षिणापथे सोदयौं राजपुत्री वत्सगुल्मौ । ताभ्यामध्यासितो देशो वत्सगुल्मक इति प्रतीतः । ( Jayamangalā on Kāmasūtra 5. 6. 36.) ()] 1. 6. cap 1 Rājasekhara thinks that Vatsagulma is a city in the country of Vidarbha. This Vatsagulma may be identified with the Vamśagulma which is situated near the source or first fall of the river Narmadā. Cf. Mahābhārata, Vana. cha. 83. 9. But Vāteyāyana in his Kāmasūtra (5. 6.) mentions Vatsagulma and Vidarbha as two distinct countries. Cf. प्रेष्याभिः सह तद्वेषानागरकपुत्रान् प्रवेशयन्ति वात्सगुल्मकानाम् । ३५ । खैरेव पुत्रैरन्तःपुराणि कामचारैजननीवर्जमुपभुज्यन्ते वैदर्मकाणाम् । ३६ । This Vatsagulma of Kāmasūtra may represent the kingdom of Udayana Vatsarāja.

·FOURTH ADHYAYA 149 1. 9. Hafrat Gauri and Sarasvati are related to each other because the daughter of Gauri was given in marriage to the son of Sarasvati, * []. 14. प्रेत्य चेह च नन्दति। f. स्वधर्म संदधानो हि प्रेत्य चेह च नन्दति । ( square 1.3.)] 1. 14. Thus, he who knows the origin and development of poetical composition, feels happy both here and hereafter. Adhyāya IV. 1. 17. 96917: This subject comprises three chapters 4,5 and 6. The fifth chapter which deals with the Kūvyapāka must also be taken as a sub-division of the main subject पदवाक्यविवेक; because काव्यपाककल्प is nothing but the selection of such words and sentences as may be appropriate to the Rasa. 9135fagr the subject of the seventh chapter, therefore, is mentioned after the year afats in the first chapter, while enumerating the subjects treated of in this work. "[l. 18. ferait Glei Cf. g Ghairaglaggferta gasten: 1 शिष्यमाणो धर्मार्थावुपलभते चानुतिष्ठति च बुद्धिमान् । उपलभमानो नानुतिष्ठत्याहार्यबुद्धिः । अपाय- नित्यो धर्मार्थद्वेषी चेति दुर्बुद्धिः । (अर्थशास्त्र. 1-17.)] 1. 18. शिष्यम् । Vamana divides poets into two classes as अरोचकि and #XTRZETR, and mentions only the first anong the two as fate or one who is fit to receive instructions. (See. Kāvyā. Sūtra. 1-2.) Rājas'ckhara follows both Vāmana and Kautilya in this respect and divides poets into three classes as बुद्धिमान् , आहार्यबुद्धि and gre. The first two only are stated by him as froz or competent to receive instruction. Page. 11. 1. 5. 877741f9:=quite contrary to the preceding two. sfagf:=right observation. A student who is intelligent hears from others but once and forthwith brings the precepts into practice. He is required to go to his teacher only for advanced studies. 1. 10. armatstara:=literary intelligence and activities. pitaartea I The methods by which he also can get it, will be explained in the Aupanişadika or the last Adhikaraña of the ·150 EXPLANATORY NOTKS Kavyamīmāṁsā. This statement also indicates that Rājasekhara wanted to complete the work in eighteen Adhikaraņas. * [1. 13. Cf. 'चित्तकाम्यमवधानम् । अवहितं हि चित्तमर्थान् पश्यति ।' वामनीया. ER 1. 3. 17]. l. 15. a Pargat fag toga i Construe:-- Facet nat ara fagot. सेव्यम् । The words Pagai sat refer to the subjects to be mastered by scholars. Among the subjects to be learnt by scholars, the literary secrets should be attempted only by the most clever persons. S'yāmadeva who is represented here by Rājaśckhara as laying a special stress on the doctrine of Samādhi as the main factor in poetical composition, may be identified with S'yāmilaka, the author of the Padatāditakabhāņa. For the view of Syamilaka on this subject, see the following verse: इदमिह पदं मा भूदेवं भवत्विदमन्यथा कृतमिदमयं ग्रन्थेनार्थो महानुपपादितः । इति मनसि यः काव्यारम्भे कवेर्भवति श्रमः सनयनजलो रोमोद्भेदः सतां तमपोहति ॥ ३ ॥ S'yāmilaka's Pādataŭitaka, *[1.18. Cf. 3x2 at PE FATi Axami ITSAT Ibid. 1-3–24 ]. Il. 19-23. This distinction between parh and 3*as inward and outward activities, does not appear to be quite clear. For both are mental activities according to the definitions at gulgar and affarsaat taah. But the author seems to indicate that fu relates to the thinking mind wliile 37727727 is constant practice. Yīyāvarīya thinks that these two faculties only strengthen the literary power or Tithi which alone can create poetry. This power is different from sfar and airfa; because they are the effects of the same power, Here Rājasekhara follows the view of Rudrața. Cf. मनसि सदा सुसमाधिनि विस्फुरणमनेकधाभिधेयस्य । feia asta a fanta Teresit aft: 1 (K. A. 1-15.) Rudraţa differs in this respect from Dandin and Vāmana both of whom hold that sfata is the chief requisite in poetical compositions. Cf. Aafia a sfaat. (Dandin 1-103.) Flacaratsi Fa#1AH. (Vāmana. 1-3-16.) 1. 25. Saat is another mental faculty by which those things that are not even perceived by poets are easily conceived and expressed. This is called mental perception or HTAA TATU.

·FOURTU ADHYĀYA 151 Page. 12. *[l. 1. मेधाविरुद्र was a rhetorician too. cf. ननु दण्डिमेधाविरुद्रभामहादि- कृतानि सन्येवालङ्कारशास्त्राणि । नमिसाधु's commentary on Rudratalankāra p. 2. His name occurs in the too. ] 1. 1. Both Medhävirudra and Kumāradása were born blind but became great poets. Kumāradāsa is well known as the author of the Jānakiharaṇa, an excellent but long Kāvya work comprising 20 Sargas. He is said to have ruled over Ceylon and is believed to be a contemporary of Kālidāsa. Two incomplete editions of the Jānakīharaṇa have been published, one from Jaypore in 1893 and the other from Bombay in 1907. The undernoted verse also occurs in the Sūktimuktāvali regarding the poetic skill of this blind author : जानकीहरणं कर्तु रघुवंशे स्थिते सति । कविः कुमारदासश्च रावणश्च यदि क्षमः ॥ Medhăvirudra is known from the references of Namisadhu ant Bhāmaha, but more as a rhetorician than as a poet. It is also doubtful whether Medhāvirudra is the name of a single person or of two, namely Modbāvi and Rudra. The single name of Medhāvi is montioned by Bhāmaha, while that of Rudra appears as the name of the author of the S'rngāratilaka where the author exhibits his skill as a poet. 1. 2. In this sentence, the meaning of friena is doubtful because of the two constructions किंच म and किंचन. In fact, the author here makes an attempt to prove his contention with two arguments. He seeks to prove that poets endowed with that can mentally conceive everything that they want to describe without ever actually perceiving them. To prove this, he first points out that even those who were born blind have become cxcellent poets. If we take two words as format and at, the second argument will be in the form of a question: Do the poets not visualize and describe the customs and manners of the people belonging to other countries and islands without the personal knowledge of those things ?. The obvious answer is : they do so describe with the faculty of their fast. This fact is stressed upon in the following verses taken at random from the works of Kālidāsa. If the word na is taken as one word, it should be construed as an adjective to the word व्यवहृतिम्.

·152 EXPLANATORY NOTES *[1. 4. SIMMATAAST (BHTATET VII, 12.)] 1. 4. In this verse Kālidăsa describes the sages practising penance on the mount Hemakūta situated in the land of Kimpuruşavarşa which could not conceivably be seen by him from Bhāratavarşa ( see p. 92 of this work ). *[ 1. 8. apa ad ( tgaat. VI. 57.)] 1. 8. Here also Kālidāsa describes the condition of an island on the opposite side of the country of the king in question and refers to the Lavanga flower grown in that island. Did he actually visit the place ?. *[1. 12. gusta (HR. III. 67.)] 1. 12. Again, the same poet describes the conduct of Mahādeva when he falls in love with Pārvatī. Can such scenes be envisaged ?. *[1. 16. तथागतायाम्। 13. VI. 82.)] 1. 16. The feelings of a lady for the first time in the presence of her lover, and the behaviour of her maid servant at that time, are fully described here by the same poet, who, being a male, is not expected to know the true feelings of a female mind. Page. 13. 1. 1. Three kinds of neophytes develop into threo different types of poets as under :- S'işya Poet बुद्धिमान्- सारखतः । आहार्यबुद्धिः= आभ्यासिकः । दुर्बुद्धिः- औपदेशिकः । 1. 4. 19. Several efforts through the aid of Mantras and some Tántric practices. 1. 5. forag=raw sugar. 1. 10. J#: 1 Yāyāvarīya thinks that caninence or superiority is always preferable and that the combination of several qualities brings forth eminence. []. 19. एकस्य. Read न्यस्य विदग्धवदनेषु. f. तत्काव्यमारोप्य पदं विदग्धवक्तेषु विश्वं परिवम्भ्रमीति ॥ (रुद्र-शृङ्गारतिलक. II. 70.)] 1. 19. All MSS read replacecay etc. If this reading is accepted the meaning of the second half would be: good poetry, while travelling, tramples upon the faces of the uncultured people with its ·FOURTH ADHYAYA 153 1. 1. footsteps ( words ) like one eager to see the world. Here the introduction of uncultured people does not militate against the context because such men are unable to distinguish between good or bad poetry. Compare also the verse of the S'ộngāratilaka above quoted. A better reading as relacjachty, therefore, is suggested here instead of pictet ctc. 1. 21. भावक is a critic or a सहृदय. 1. 23. कः पुनः । There is no real difference betwcen these two functions of referaft and arafast because a poet himself may be a good critic or vice versa. 1. 26. HAHET #fa: = that poet who is himself a critic. This remark supports the contention of the Ācāryas stated in line 23. Page. 14, Kālidāsa is here represented as refuting the view accepted by the Acāryas. He seems to be of opinion that tho critical and poetical faculties are quite distinct and are found rarely combined in one and the same person. But Rājasekhara does not mention the place where Kālidāsa must have expressed this view. Vory probably the underlying idea has been drawn from the following verse occurring in his Sākuntala. आ परितोषाद्विदुषां न जातु मन्ये प्रयोगविज्ञानम् । बलवदपि शिक्षितानामात्मन्यप्रत्ययं चेतः ॥ From this, it appears that Kālidāsa was of opinion that poets do not feel at ease until their composition is well-rccoived by critics. Similar expressions are also made by him in his Raghuvaṁsa and Mālavikāgnimitra. Cf. तं सन्तः श्रोतुमर्हन्ति सदराद्वयक्तिहेत वः । A: 4548 uut laula: farsfa ar li Raghuvaṁsa 1-13. and सन्तः परीक्ष्यान्यतरद्भजन्ते मूढः परप्रत्ययनेयबुद्धिः । Malavikagnimitra. I. 1. 3. This verse also strengthens the view that these two faculties of composition and criticism seldom combine in one person. * [ 1. 7. Two verses of मङ्गल are quoted in सदुक्तिकर्णामृत- यदाख्यानासङ्गादुषसि पुनते वाचमृषयो यदीयः संकल्पो हृदि सुकृतिनामेव रमते । स सार्वः सर्वज्ञः पथि निरपवादे कृतपदो जिनो जन्तूनुच्चैः दमयतु भवावर्तपतितान् ॥ निष्किञ्चनत्वाद्विधुरस्य साधोरभ्यर्थितस्यार्थिजनस्य किञ्चित् । नास्तीति वर्णा मनसि भ्रमन्तो निर्गन्तुमिच्छन्त्यसुभिः सहैव ॥ 5-290. 1-2, २० ·154 EXPLANATORY NOTES अरोचकिनः सतृणाभ्यवहारिणश्च etc. of. अरोचकिनः सतृणाभ्यवहारिणश्च कवयः ॥ १॥ इह खलु द्वये कवयः संभवन्ति । अरोचकिनः सतृणाभ्यवहारिणश्चति । अरोचकिसतृणाभ्यवहारिशब्दौ गौणार्थों । कोऽसावर्थः । विवे. कित्वमविवेकित्वं चेति । यदाह- पूर्व शिष्या विवेकित्वात् ॥ २॥ पूर्वे खलु अरोचकिनः शिष्याः शासनीयाः। विवेकित्वात् विवेचनशीलत्वात् । नेतरे तद्विपर्ययात् ॥ ३ ॥ इतरे सतृणाभ्यवहारिणः न शिष्याः। तद्विपर्ययात् । अविवेचन- शीलत्वात् । नच शीलमपाकर्तु शक्यम् । (वामनालकार 1. 2. 3)] 1. 7. The Bhāvakas or critics are divided into two distinct classes by Mangala as अरोचकि and सतृणाभ्यवहारि. In Vamana's Kavyalankūrasūtra, the same division is found with reference to poets but not critics. It may be surmised from this statemant of Rajasekhara : "कवयोऽपि भवन्ति । इति वामनीया :" that Mangala was carlier than Vāmana (cir. 800 A. D.). ll. 10-17. Yayavariya disagrces with the contention of Vāmana regarding the division of poets, and sticks to his original classification given in the beginning of the chapter as बुद्धिमानाहार्यबुद्धि etc. Ire advances two important arguments in rejecting Vamana's classification of poets. Firstly, that if the qurility of starfar is inherent from birth it cannot be changed by human cffort. Secondly, that if it springs through the medium of tho knowledge of reality, it is not likely to take effect when a good piece of poetry is placed before him. Similarly, the other quality of सतृणाभ्यवहारिता is common to all in the beginning, but it (lisappears when one begins to discriminate the best from the worst by virtuo of deoper study. 1. 20. Scholarship without jealousy is a raro virtue. truism and with this the author feintly hints at Būņa who in his Harşacarita 6th Ucchyāsa writes as follows: कपिरचपलः कविरमत्सरः वणिगतस्करः + + + xx राजसूनुरदुर्विनीतश्च जगति दुर्लभः । Page. 15. 1.4. This line must be construed as:-- भावकः कवेः यन भवति तत् किम् । ही चित्रम् । 1. 5. Cf. किं कवेस्तस्य काव्येन सर्ववृत्तान्तगामिनी । कथेव भारती यस्य न व्याप्नोति जगत्रयम् ॥ Harşacarita 1-10. *[l. 7. Cf. सत्यं सन्ति गृहे गृहे सुकवयो ( शृङ्गारतिलक. 1-17)]. It is a ·FIFTH ADHYAYA 155 1. 7. Bāņa has expressed a similar sentiment in the following verso: 1. 11. सन्ति श्वान इवासख्या जातिभाजो गृहे गृहे। उत्पादका न बहवः कवयः शरभा इव ॥ Harşacarita 1-6. *[1. 10. सर्वाभिनयनिणीतौ दृष्टा नाट्यसृजा न याः । नाट्यसृजा । ब्रह्मणा । arazi qura aferó FIFTER! ( 12tia. 1-15) ]. 1. 10. Construe as:- याः सर्वाभिनयनिर्णीतौ नाट्यसृजा न दृष्टाः ताः विक्रियाः उल्लसन्ति । वाग्भावकः and हृदयभावकः । Some critics seem to appreciate poetry and express their appreciation while others appreciate at heart but do not express. Some scholars, however, are inclined to interpret the sense of these two terins in a somewhat diflerent manner. Tho Vigbhāvakas are those who are apt to lay much stress on the words of poetry, while the Iſțdayabhāvakas are disposed to lay an emphasis on the essence of poetry. 1. 14. Some critics, whilo going through a poem, discover simultaneously the existence of qualities that are to be praised and the non-existence of the blemishes to be condemned. सात्मानम्। This should be separately read in prose as: सः आत्मानम्। For similar usages refer to सैष दाशरथी रामः and संष शिष्यहिताय नः । All MSS. read qčia! But is here suggested as it is followed by get in the next half. The general purport of the whole chapter is stated in this verse. 1. 23. It has already been said that the two qualities of naar and aeqfa, essential for poetical excellenco, arise from the Sakti or the power of .imagination with which only a few are blessed. slaaf has been discussed in this chapter while zyrafa will follow in the next, 1. 18. 1. 21. Adhyāya V. Page. 16. 11. 2-5. बहुशता । Acāryas define व्युत्पत्ति as बहुज्ञता. Here the word ac or 'many' represents the subjects such such as लोकविद्याप्रकीर्णक etc., a knowledge of which is imperative on a poet who makes an attempt at writing poetry. A list of these subjects, probably for ·156 EXPLANATORY NOTES the first time, is given by Vāmana in his Kūvyūlankārasūtra. (1, 3. 1-20.) The knowledge of those subjects is known as Vyutpatti and is an essential factor in the composition of poetry. This has been acknowledged by such early writers on poetics as Dundin, Vāmana and others. (See Kõvyādarśa 1-103, and Kāvyālankārasūtra 1-3-1.) Abhinavagupta, however, holds a different view regarding the definition of Vyutpatti. He says in his Locana (p. 137. N. S. ed.) Haranaqur Riders anyafe: While Mammața defines this Vyutpatti as fagorat, he does not add any further explanation. Rājasekhara, however, differs from the Acāryas, and is inclined to take the subjects 7th, fateri, u sfatufato etc., as the source of fearf or the theme of poetry but not the cause of poetry itself. (See chapter 8th of this work ). While defining Vyutpatti he follows Rudrata and characterises it us उचितानुचितविवेकः । Cf. छन्दोव्याकरणकलालोकस्थितिपदपदार्थविज्ञानात् । युक्तायुक्तविवेको व्युत्पत्तिरियं समासेन ॥ Rudrata 1. 18. In the works of Anandavardhana and Abhinavagupta the definition of Vyutpatti is similar to that of Rudrata. (See Dhvanyaloka p. 137) According to Rājasekhara, therefore, the faculty of discrimination which, is effected by the study of goal- 47470 etc, is known as Vyutpatti, [ 11. 6-10. आनन्द is आनन्दवर्धन the author of ध्वन्यालोक. ध्वनिनाऽतिगभीरेण काव्यतत्त्वनिवेशिना । 8776rgqua: Firen ardatarargata: 11 (TARTET) Cf. द्विविधो हि दोषः कवेरव्युत्पत्तिकृतोऽशक्तिकृतश्च । तत्राव्युत्पत्तिकृतो दोषः शक्तितिरस्कृ. तत्वात्कदाचिन लक्ष्यते । यस्त्वशक्तिकृतो दोषः स झटिति प्रतीयते । परिकरश्लोकश्चात्र:- अव्युत्पत्तिकृतो दोषः शक्त्या संब्रियते कवेः । यस्त्वशक्तिकृतस्तस्य स झटित्यवभासते ॥ (ध्वन्यालोक. तृतीयोहयोत.) This verse is quoted by Hemacandra in his काव्यानुशासनविवेक.] 11. 6-14. In order to decide the superiority among these two factors: Pratibhā and Vyutpatti, Rājasekhara quotes here the views held by two earlier writers Ananda vardhana and Mangala on

·FIFTH ADHYAYA
157
the same question. Anandavardhana records his view on this question
in his Dhvanyālokā (pp. 137 and 147). He holds that Pratibbā is more
important to a poet than Vyutpatti and proves his contention by
citing an instance from the Kumārasambhava, where Kālidāsa des-
cribes the amorous sports of Pārvati and S'iva. This description, he
seems to think, is improper and is the result of the poet's want of
Vyutpatti, but the propriety of this portion has been maintained
admirably by poet's Pratibhū or genius (S'akti). lIere, it inay
bo
noted that Anandavardhana uses the word Sakti to mean Pratibhū
while Rajasekhara limits the use of S'akti to denote the cause of
Pratibhā. (See page 11. 1. 22) In support of this view of Ananda-
Vardhana, Rājasekhara cites another instance by il verse galite
etc. Here, impropriety due to want of Vyutpatti, may be discovered
because the son Kārtikeya is said to have asked his mother Pārvatī
certain questions regarding his father when he liad the quarters
as his garments (partiat). This impropriety does not find full ex-
pression owing to the Pratilihā of the poet who concludes the topic
by saying that the Devī smiled and stopped her son from asking
further questions of an improper nature, thus diverting the attention
of the reader.
11. 15-22. Mangala, another expert on poetics, however, held
a different view which made Vyutpatti more important than
Pratibhā for a poet.
Here all the MSS. read: atqAFHATHI
The word वित्त or चित्र may be red in the place of चित्त. If this
suggestion is accepted, the passage will mean that the readers,
while appreciating a poct's वैदग्धी वित्त or चित्र which is the effect of his
Vyutpatti, do not care much for his want of crudition in teatef-
JF%a1 which depends on his Pratibhā. This view is illustrated
by means of the verse: कृतः कण्ठे निष्को नहि ete. In this verso the
poet exhibits his power of discrimination or Vyutpatti when he
states that a lady removes heavy ornaments, dress, etc. from her
body but puts on a light neglige' in silk when directly she engages
herself in amorous sports.
This descriptive skill arises out of the poet's Vyutpatti which
is the result of his study of the Kāmasūtra ( 4. 1.) where we meet
with the following passages :
बहुभूषणं विविधकुसुमानुलेपनं विविधाङ्गरागसमुज्वलं वास इत्याभिगामिको वेषः ॥ २४ ॥

·158 EXPLANATORY NOTES प्रतनुश्लक्ष्णाल्पदुकूलता परिमितमाभरणं सुगन्धिता नात्युल्बणमनुलेपनं तथा शुक्लान्यन्यानि पुष्पाणीति वैहारिको वेषः ॥ २५॥ In this verse readers appreciate the Vyutpatti of the poet and do not denounce him for his lack of Pratibha or शब्दार्थगुम्फना । Page. 17. * [1. 1. जद्धाकाण्डो also in काव्यप्रकाश VII.] 11. 1-4. In this verse, the poet has exhibited both Pratibhā and Vyutpatti, and Rājasekhara thinks that the poet who possesses both the faculties, is the best. IIcre, the poet's Vyutpatti of Nātya can be discovered by referring to the definition of Dandapāda, a kind of dancing described in the Nātyaśāstra and tho Sangitaratnākara. c. Natyasustra-(G.O.S. No. 3G.) नूपुरं चरणं कृत्वा दण्डपादं प्रगारयेत् । क्षिप्राविद्धकरं चैव दण्डपादं तदुच्यते ॥ and 4-143. चारी नूपुरपादोऽथ दण्डपादाद्रुतः करः । दण्डवस्यस्यते यत्र दण्डपादं तदुच्यते ॥ सूरयो विनियुअन्ति तत्साटोपपरिक्रमे ॥ Sangitaratnakara 7-711. The Pratibhā of the poet also is well exhibited here by his excellent description of the dance of the Devī in the most appropriate words. * [1. 20. लोललाल also in सरस्वतीकण्ठाभरण, Read मालंध्योत्ताल.] 11. 20-24. Bhojadeva Bhojadeva quoted this vorse in his Sarasvatikanthabharana (2-69) to illustrate पदरचना. How the poet here zealously observes the methods of real may be gathered from the remarks of Bhojadeva: अधिकानामपुष्टार्थानामपि पदानामनुप्रासाय छन्दःपूरणाय चार्थानुगुण्येन रचितत्वादियं पदरचना। 1. 25. In this verse, the author illustrates the skill of a poet in composing complete sentences only with nouns without using any verb. Page. 18. *[1. 11, देवी पुत्रमसूत attributed to योगेश्वर in सदुक्तिकर्णामृत; also in सरखतीकण्ठाभरण.]

·FIFTI ADHYAYA 159 senses, 1. 11. Tho verse ant gran ctc. is quoted by Bhojadeva in his Sarasvatikanthābharaṇa ( 4–176 ). This versc is also found in the Sūktimuktāvali and is attributed to Trivikramabhatta. Bhoja finds in this verse a variety of Parikarālańkāra while Rājasekhara quotes this verse to illustrate an Arthakavi. 11. 15–19. In this verse 9 AH etc. *TEGISET is illustrated by repetition of two words विषमरणम् and भागीरथ्याम् in two different In the verse stad etc. 544233r is illustrated. *[1. 21. Read as स्तनतटपरिणाहो दोलतालेह्यसीमा। प्रतीच्छत्याशोकी also in सरस्वतीकण्ठाभरण]. 1. 20-25. Here 3ft indicates a beautiful presentation of certain ideas. For an attractive presentation, poets must make use of the quality or to known as Samadhi. This is considered by Dandin as the most important among the Guņas. c/ तदेतत्काव्यसर्वस्वं समाधिर्नाम यो गुणः । 777: Talso Thaitafat in Kivyādarśa. 1-100. The two verses quoted here to illustrate an 3fififà indicate that are is the chief factor in fe. Samadhi has been defined by Dandi, Bhoja and others as FTTHPFIIRITUA I Blooja, in the Second verso ariza cte, illustratos Samadhi. In these two versos such words as लाव्य, लेद्य, निपेय and प्रतीच्छति, अनुवदति, अवतरति, denote the quality known as Samüthi. Page. 19. *[ 11. 3.7. 5 275F. (laguf:41 IV. 5.) In this verse, the skill of a Rasakavi is illustrated. Herc, a poetalescribes the beauty of the river Tamraparņi and its water which transforms itself into pearls and adorns the breasts of beautiful ladies. The poet thereby gives vent to his inner feeling of S'ộngāra. 1. 7. Arala: 1 The word Marga' (lenotes here the Ritis वैदर्भी, गौडी etc. Sec Daņļin 1. 40. This verso represents the Vaidarbhi style which has been acknowledged by early writers as tlie best. STARTAT auftået. 1-23. ] 1, 22. RITME I The Gauựas are generally called Paurastyas and their r or style is known as the Gaudiyā stylc. Dandin 1. 3. *[ 1. 11 ·160 EXPLANATORY NOTES in his Kūvyādarśa uses this word git to represent the Gaudas and calls their Riti as गौडीया. (see 1-50.) 1. 23. प्रबध्नाति=author of a Mahakavya. 1. 24. अन्यतर=Sanskrta or one of the Prakrta dialects. Page. 20. *[ll. 5.-6. cj. सुपां तिहां च व्युत्पत्तिं वाचां वाञ्छन्त्यलकृतिम् । तदेतदाहुः सौशब्द्यं नार्थव्युत्पत्तिरीदृशी ॥ (भामह. 1-14). व्युत्पत्तिः सुप्तिडां या तु प्रोच्यते मा सुशब्दता। सरखतीकण्ठाभरण I. आवापोद्धरणे and यत्पदानि (वामन 1-3-15); सति वक्तरि (Ibid. 1-2-11). For the text of वामनीयालङ्कार the commentator सहदेव says as under :- वंदिता सर्वशास्त्राणां भटोऽभून्मुकुलाभिधः । लन्ध्या कुतश्चिदादर्श भ्रष्टाम्नायं समुद्धृतम् ॥ काव्यालङ्कारशास्त्र यत्तेनतद्वामनोदितम् । अमृया तन्न कर्तव्या विशेषालोकिभिः कचित् ॥ आकर्ण्य भवतस्तस्माद्दयितम्य विधीयते । विवृतिः सहदेवेन वामनीयस्य गम्प्रति ॥ Pp. 20-21. For सहकारपाक and वृन्ताकपाक f. वामन (3-2-14). गुणस्फुटत्वसाकल्ये काव्यपाकं प्रचक्षते । चूतस्य परिणामेन म चायमुपमीयते ॥ सुप्ति संस्कारसारं यदिकटवस्तुगुणं भवेत् । काव्यं वृन्ताकपाकं स्याज्जुगुप्यन्ते जनास्ततः ॥ p. 21. 1. 4. कुकविना हि सोच्छ्वासं मरणम् । of. कुकवित्वं पुनः साक्षान्मृतिमाहुर्मनीषिणः । भामह 1-12. For कपित्थपाक f. अहृद्यमसुनिर्भदं रसवत्त्वेऽप्यपेशलम् । काव्यं कपित्थपाकं तत् केषांचित्रादृशं यथा ॥ (भामह V-62).] 11. 4-23. In three chapters 4-6, the author treats of पदवाक्यविवेक and other subjects connected with it. Thus, naturally the topic of ufaur which is subordinate to the main subject of rarefah is introduced in the 5th chapter. After discussing the nature of Pratibhā, Vyutpatti, and classification of poets, the author starts a discussion in order to determine the nature of the Kāvyapāka, and records the opinions of earlier authorities on that point. Pāka in poetry means 'maturity' and it originates from the constant practice of composing poems. Mangala is of opinion that this maturity consists in the knowledge of nouns and verbs, obtained by constant hearing, and that this kind of knowledge is also called Vyutpatti. The Acāryas differ from ·BIXTH ADAYĀYA 161 Mangala and define Pūka as the competency of a poet to select suitablo words and to put them in appropriate places. This view of the Acāryas is also referred to and, as Rājasekhara states, rejected by Vāmana in his Kāryālaukārasūtra (1-3-15) where he calls this faculty of poets as Braetor. To him re&ti* is something different and he defines this in the verse Traia etc. (Ibid, 1-3-15 ). Avantisundarī ridicules this vicw of the Vānaniyas, but extends the sphere of Pūka further to include the propriety of Guņa, Alankāra, Riti, ideas, words and their senses in consonanco with the Rasas. Rājasekhara definitely favours the view of Avantisundarī and quotes a well-known verse in its support. This verse ala ama etc. is also quoted by Vāmana in order to prove the superiority of the Vaidarbhi stylo, but not to characterise Pāka. This very Paka has been designated by Anandavardhana and Kşemendra by the term of gift or "propriety" in their works. ( See Dhvani. p. 145, and Aucityavicāracarcã. 1-3.) Vāmana's definition of Kāvyapāka is given in the following verse:--- गुणस्फुटत्वसाकल्ये काव्यपाकं प्रचक्षते । चूतस्य परिणामेन स चायमुपमीयते ॥ (see 3-2-14.) Page. 21. 1), 3-9. Altogether nine varieties of Pūka are recognized and these may be classified under the following three leads :- }lig). Middling. Low. मृद्वीकापाकः पिचुमन्दपाकः far alt Firma: वार्ताकपाकः नालिकेरपाकः 197917: कमुकपाकः Generally, later writers on poetics recognize only two Pākas alia and also as the best, and again, among the two the former as superior to the latter. वदरपाका सहकारपाकः Adhyāya. VI. 1. 16. पदवाक्यविवेकः । In this chapter, the author explains the nature of words and sentences and shows how they constitute poetry. Both these topics relate to the main subject of पदवाक्यविवेक. In the two previous chapters, the faculty by which good words and sentences are distinguished from bad ones has been dealt with. २१ ·162 EXPLANATORY NOTES 1. 17. व्याकरणस्मृति । Grammar also is considered as one of the Smộtis because the grammarians distinguish the correct words from their incorrect forms with the help of memory; and also because they think that by using correct words merit is obtained in the next world. As grammar is regarded one of the Smrtis from very carly times, Jaimini also liscussed its validity on Dharma in his chapter on Smộtis [. . 1. 3. (see Kumārila's Tantravārtika on Jaimini 1-3-25 and the Paspaśāuhika of Patañjali's Mahālılāsya. ) fartsTue I Etymological derivation and interpretation of the words are called fart. Fastog is a glossary of words. शब्दः । Words are of two kinds, namely, वैदिक and लौकिक. 1. 18. 471 According to the Naiyüyikas qz is a word with a moaning while grammarians consider it is girl zíə means ifa (TZITA); anıl five kinds of Vitti are recoguized. 1. 22. 37777777777:=315277779T: RT671277777777777: I This includes also a which is known as fattia or 3723737 is defined thus: मदृशं त्रिषु लिङ्गेषु सर्वामु च विभक्तिपु । वचनेषु च सर्वए यन्न व्येति तदव्ययम् ॥ 1. 23. कर्मप्रवचनीयाः । This term applies to certain words in the af group. As these words are responsible for certain peculiarities in the construction of sentences, they are grouped separately. For the term of Karmapravacanīya sce līnini 1-1-87. अव्यय. Page. 22. *11. 3. Fastin is attributed to Bhattamuktikalasa in the Kavikanthābharana 5th Sandhi. ] 1. 3. Tho object in quoting this verse selsky is two-fold; first, to name the six compounds in one verse and secondly, to compose a humorous sentence with the help of the names of these compounds. This verse is attributed by Kşemendra to Bhattamuktikalaśa who is also known as the great-grand-father of the poet Bilhaņa the author of the Vikramānkadevacarita (See. 18. 75). The reading of this verse in the Kavikarthābharaṇa is as follows: द्विगुरपि सद्वन्द्वोऽहं गृहे च, etc. The reading preferred here:

·SIXTH ADHYAYA 103 Falste farTH TË 7 À etc. is from the B. Ms, and the meaning of the verse will be this:--The house-holder says that though his family consists only of two members and a couple of cows, there is no reduction in houseliold expendituro; he isks luis servant, therefore, to work more in order that his labour may enrich him with a good quantity of paddy. quantity of paddy. This idea is not brought ont by any other reading of this verso now ilvailable. *[1. 12. f. एवं हि श्रूयते-बृहस्पतिरिन्द्राय दिव्यं वर्षसहस्रं प्रतिपदोत्तानां शब्दाना शब्दपारायणं प्रोवाच । नान्तं जगाम। बृहस्पतिश्च प्रवक्ता । इन्द्रश्चाध्येता। दिव्यं वर्षसहस्रमध्यगनकालः। न चान्तं जगाम । प्रियतद्धिता दाक्षिणात्याः ( महाभाग्य - पस्पशा ) . 1. 17. aga etc.-Thiese five kinds of words, when used in constructions according to special rules for their application, enrich the sentence. IIcre and in the cit verse the word 3116 denotes a sentence and it is not used in its usual signification of a verl). 1. 21-25. IIere, the author defincs 2147 Or Sentence which according to himn is an arrangement of words capable of conveying to others the desire of the composer. The followers of Udbhatit are of opinion that sentences lave tice distinct functiuus in expressing their mcanings. These thiroe functions, intercouncet the meanings of words or 471s1 and this connection is known as 91211. The connocting links of the words tre supplici by the caseterminations or laut it is which are either present, or absent at the end of the words as required by Samasa rules. 399&innitti is a caseending which is due to the presence of another noun; such as the चतुर्थी, due to the combination of nouns नमः स्वस्ति etc. कारकविभक्ति is a case-ending which has direct connection only with the verb. *[ 1. 26. 2481. No. 7. of the yhitarares ]. Page. 23. The power, inherent in the words without case-endings as in a coinpound, to express the souse of the omitteil caso-terminations etc. is what is called here the Sakti. In this verse, there are six words in the arate compound and they retain the power of expressing 3771971f with the meaning of one or the other of the six cuse-endings from द्वितीया to राप्तमी. e. g. वित्रस्ताः शत्रवः यस्मात् । स्पृहयालुः लोकः यस्मै । प्रपन्नाः सामन्ताः यम् । 1:5. In this verse also, the connecting case-terminations of tho woruls #s, ateita etc. are supplied by the same words which retain 1. 1.

·164 EXPLANATORY NOTES sea. the power to express the meaning of the case-andings though they are absent in compound forms. II. 17-24. 792=the noise produced by the churning of the This variety of अनेकाख्यात is called सान्तर because verbs are here interrupted by nouns. The other variety known as निरन्तर is so called because verbs are not so interrupted. The root of the verb सरस्यसि in line 23 is not found in the धातुपाठ of Panini. It may be, therefore, read as TARIFT. 11. 25–27. Bhojadeva in his Sệngāraprakāśa ( 3rd prakāśa ) states the same ten-fold division of sentences us found here and illustrutes the different varieties with the same verses as are quoted here. He also enters into a very lengthy discussion which is mainly based on the two views held by the Ācāryus and Yüyävariya as stated hicre. The Ācāryas maintain that sa aconaat cannot be considered as one sentence when it includes several verbs, because ono verb connecting some nouns constitutes a complete sentence. After advancing this view of the Acaryas along with several authorities from Vararuci's Vārttika, Bhoja, following in the footsteps of Panini and Patanjali, up-held the view of Yayavurry:as correct and denounced the view of the Acaryas based on Viraruci’s theory. Yayavaniya holds that thero may be one sentence with many verbs provided that all of them are connected with nouns, and provided that tho import of the sentence is one. CH. S'rngäraprakāśa :- ननु च निरन्तराख्यातं समुच्चिताख्यातमेकार्थाख्यातमावृत्ताख्यातमित्यादयो वाक्यविकल्पा नोपपद्यन्ते । वाक्यकारो हि मन्यते नास्त्येव तिइन्तयोः संबन्धः । तथा च तिटतिडः इत्यत्रातिड्वचन- मनर्थकम् । समानवाक्याधिकारात । इत्यतिवचनं प्रत्याचष्टे । नटेकत्र वाक्ये द्वे तिडन्ते स्त इति । एवं च वाक्यलक्षणं करोति-आख्यातं साव्ययकारकविशषणम् । After advancing this theory with several authorities, Bhojaduva concludes thus: तदेवं सूत्रकारस्य भाष्यकारस्य च दर्शनऽस्ति क्रियायाः क्रियान्तरेण संबन्धः । वार्तिककारस्तु युप्मदस्मदादेशनिघाताद्यर्थमाख्यातं साव्ययकारकविशेषणं वाक्यम् एकतिडाक्यमित्यन्यदेव लौकिका- त्पारिभाषिकं वाक्यलक्षणमारभते । न च तेन लौकिको व्यवहारः सिद्धयतीत्युपेक्ष्यते । तदुक्तम्- निघातादिव्यवस्थार्थ शास्त्रे यत्पारिभाषिकम् । साकाहावयवं तेन न सर्व तुल्यलक्षणम् ॥ Page. 24. 1. 2. CI. Ibid-जयन्ति मृगलोचनाचलदपाङ्गदृष्टिक्रमाः। - - ·SIXTH ADHYAYA 165 1. 13. 1. 9. Cf. Ibid-az famosesseilshami: 11 *[1. 10. चरन्ति चतुरम्भोधि. also in सरस्वतीकण्ठाभरण.] 1. 12. See Singāraprakāsu for the other example: तामवातारयत्पनी रथादवततार च । paſtra car drawn by oxen, 1. 17. Construe as यदप्रेयस्या दंष्ट्राया अग्रे and यच्छ्वासः यस्य देवस्य श्वासः ।। ARQsF='a ball' used in play. 1. 18. In this werse the verbal form Hag should be added to complete the sentence. *[1.20. Barge ART. ( 271943. II. 45.)] * 1. 24. कियन्मात्रम् occurs also in सरस्वतीकण्ठाभरण] *[1. 26. गुणवदलङ्कृतं च वाक्यमेव काव्यम् । (f. काव्यशब्दोऽयं गुणालङ्कारसंस्कृतयोः शब्दार्थयोः वर्तते । वामन 1-1-1. गुणालकारचारुत्वयुक्तमप्यधिकोज्वलम् । F124712722774211 ht fütarATE#: || HEITT: 11 Contrast with this the later (levelopments in the definition of #124.] 1. 26. After explaining 9garitha, the author concludes the topic and declares the result. A Kūvya, according to Rājasekhara, is nothing but a sentence laving Guņas and Alankūras. All early authors on poetics from Bhämaha onwards have attached equal importance to both the words and their meanivgs, in the composition of a Kävya. Rajasekhara differs from them and holds that words alone are important in the constitution of the Kävya. In this connection the definitions of Viſvanātha and Jagannātlapandita are noteworthy; because they also hold that sentences alone are the chief constituents of a Kūvya. Cf. argi TRAICHÉ 25674. (Sāhityadarpaņa ) and रमणीयार्थप्रतिपादकः शब्दः काव्यम् ( Rasagangadhara.) 1. 27. Here Rājasekhara claborately discusses the point raised by Vamana in his first sutra काव्यं ग्राह्यमलङ्कारात्. He records all the adduced by previous authoritics for against the view above stated. Threc arguments have been advanced in this connection by those who wanted to denounce the merits of, and to state the disadvantages in the study of, the Kāvyas. These arguments are: first, that Kāvyas should not be arguments 01 ·166 EXPLANATORY NOTES taught to any one because they contain several untrue statements; secondly, brcause they encourage immoral practices; and thirdly, because they give teachings on indecent practices. In support of these three argments they quoted several examples from the Kīvyas. Rūjaśckhara refuted all these hostile views on thie Kāvya and proved that the study of Kūvya is irreproachable in ('very way because of its special merits. . ( Sce Page. 25 II. 1-4. moisture. Tere the poet'las employed the figure of speech known as a talítti in describing the famo of a king. 11.5-9. llcre also starriffi is employed in describing the army of a king. Tho word qrarsala is also used by Vamana. ( Kāvyālaikīrasūtra 1--3-23.) U. 10-14. The words antras and I are uscd here to indicate the imperfection of arai and grom in statiny real facts. The word 845treci should be pronounced with the #19 (intonation) which indicates interrogation. 1. 15. The reading in this line is defective in all MSS. It may be cniended as: भासत्यमस्ति किञ्चन काव्ये स्तुत्यर्थमर्थवादोऽयम् । [ 1. 17. gfèquit. Batuaren 7-15-2. (33-3) Tatyalan. 15-19.] 1. 17. This rk occurs in the na:SITIETH where Indra advises Rohita, the son of Hariscandra to wander again in the jungle, and this the boy actually did. This rk is in eulogy of tho wanderer, शेरे शरते । प्रपथे-प्रकृष्ट तीर्थक्षेत्रादिमागें । Here wandering is praised in order that Rohita may be tempted to accept this novel carcer. It is, therefore, called प्रशंसार्थवाद which may contain untrue statements also. Jl. 19-22. This is also another Tihare which praises grammar as superior even to Vedas. In this connection the Vedic view of Arthavāda is noteworthy. Vedic scholars are inclined to think that the chief object of hare is only to praise the action prescribed in the form of Afu or any in order to attract the performer; and, ·SIXTIL ADHYAYA 167 utility therefore, it does not matter if the Arthavāda contained some untrue statements also. 11. 23-24. This verse is quoted by Patanjali in his Malābhāşya (Paspaśānhika ) to show the of studying grammar. The commentator Kaiyața, however, attributes the authorship of this verse to Kātyāyana. (f. 19 matcha E72774- मध्यपठितस्य त्वस्य श्रुतिरनुमा हिकाऽस्ति । 'एकः शब्दः सम्यग् ज्ञातः सु, प्रयुक्तः स्वर्ग लोके कामधुम्भवति' इति । *I pp. 25-26. 1. 16. From महाभाष्य पस्पशा.] Page. 26. 11. 1-16. All these lines are quoted here from the Mahābhāşya of Patanjali, under the name Gonardiya, Here, it is said that one who speaks in words, which are grammatically correct, enjoys success in the next world, while the other whose speech is ungrammatical is contaminata or polluted. The sentence विषम 3977127: which is found in the Maltā başya after the words Biara get T77H, is omitted here. In the verse gratamiai, etc, a question is asked: If ordinarily wino cannot bring heaven to those who drink it, how can it do so when drunk in Sautrāmaņiyāga? This is one of the arguments advanced by atheists to challenge the testimony of the ortholox. Readl प्रमत्तगीत एषः । तत्रभवतो. 11. 17-18. "| गुणानुराग. also in सरस्वतीकण्टाभरण. ] Also quoted in Srngaraprakāóit. 1. 19. On moral grounds also the Kävyit is injurious and should be discarded, 1. 20, Read SHTEPHA. This verse is attributed t) Vijjākā in the Saduktikarņāmrta, and it is also recorded in the Subhāṣitabhāņdāgāra under the hcading of 37acftta. The reading in the 3rd are also is found there as ejääETFII which is better fitted than the reading 3 AIITOT PH found in the text. A similar explanation is given by Vātsyāyana while concluding the chapter on GrETREFFITUT of the Kämasūtra where immoral practires are describel. cj. संदृश्य शास्त्रतो योगान् पारदारिकलक्षितान् । न याति छलनां कश्चित् स्वदारानू प्रति शास्त्र वित् ॥ ५० ॥ 1. 25.

·168 EXPLANATORY NOTES पाक्षिकत्वात्प्रयोगाणामपायानाञ्च दर्शनात् । धर्मार्थयोश्च वैलोम्यान्नाचरेत्पारदारिकम् ॥ ५१ ॥ तदेतद्दारगुप्त्यर्थमारब्धं श्रेयसे नृणाम् । प्रजानां दूषणायैव न विज्ञेयो ह्ययं विधिः ॥ ५२ ॥ Kamasutra. 5.G.2. 4-13) Page. 27. *[ काव्यमय्यो. No. 171 of शार्ङ्गधरपद्धति । ख्याता. No. 161 of सुभाषितावलि, attributed to भट्टगोविन्दस्वामी । cf. महीपतेः सन्ति न यस्य पार्श्वे कवीश्वरास्तस्य कुतो यशांसि । भूपाः कियन्तो न बभूवुरुा नामापि जानाति न कोपि तेषाम् ॥ विक्रमाङ्कचरित्र 1-26] 1l. 3-4. In addition to this, the statements of Daņiļin (Kavyadarsa 1-5) Bhamaha (1, 6-8) and Rudrata (1, may be noted. 1. 19. प्रप्रीवः=window. 11. 27–28. Yāyāvarīya holds that if this kind of description is a taboo in the Kavyas, the objection will hold good even in the case of the Vedas and the S'āstras the study of which in consequence should be abandoned. Page. 28. *[1. 2. उपोप मे परामृश मा मे ढंभ्राणि मन्यथाः । सर्वाहमस्मि रोमशा गन्धारीणामिवाबिका ॥ ऋग्वेद, २. १. ११. ७. नि रक्त ३. ४. ३.] 1. 4. Srigiraprakisa of Bhoja reads प्रकामधवलं यस्याः instead of यस्याः प्रसन्नधवलम् । . Adhyāya VII. 985g or settling the reading is taken up after the पदवाक्यविवेक according to the list of subjects given in the first chapter. This order seems logical inasmuch as instructions on the reading of sentences are given aiter indicating their nature in previous chapters.

·SEVENTH ADHYAYA 169 II. 11-17. Sentences are again classified here according to the sect to which the speaker belongs, such as the art or a or à cora. This classification should be known by the reader as it is a part of his education. Rājasekhara, in writing this chapter, seems to have drawn his information mainly from the Vāyupurāņa. Bäņa, in his Harşacarita and Kādambari mentions this l'urāņa, and the Sārasvateya cult which is inculcated in the Harşacarita and the Kāvyamīmānsā, is chiefly derived from the same Purāņa. Rājasekhara in his description of the five kinds of speech also scems to be indebted to the Vāyu and other Purāņay. This group is named as Brahma and is divided into five classes : स्वायंभुव, ऐश्वर, आर्ष, आर्षीक and आर्षिपुत्रक. This classification actually appears in the Vāyupurāņa (chapter 59), though the definitions and illustrations of these five kinds of speech are not found in it. Through this classification, Rājasekhara seeks to trace the origin and development of human speech. ll. 19-23. Here two kinds of speech Fariya and hope are differentiated. The first is riut or the primitive speech in which neither the ideas follow in their logical sequence, nor the language appears to be refined, though it is able to express all objects, and even go so far as to describe the methods leading to salvation. Svayambhū is supposed to be the originator of two kinds of speech, one in the form of the Vedas is the earlier, while tho other known as Brya or the primitive speech is the later. The ऐश्वर speech is more refined than the ariya and in it both the logical sequence and skill in composition are noticeable. Page 29. 1.1. The next stage of development is represented hy the speech attributed to the Rşis, In this speech sentences havo more nouns and case-terminations than those previously described, and their import finds a ready expression. But this speech is invariably connected with some Mantras. 1. 3. The next stage in linguistic developnient is represented by the speech of the Rşikas in which there is a great volume of short sentences full of Nipātas without any case-terminations. But in this speech there is frequent use of words found only in the Vedas. 1.5 The fifth or the last stage is represented by the speech २२ ·170 EXPLANATORY NOTES attributed to the Rşiputras. This is difficult inasmuch as there are words which cannot be definitely soparated, and therefore, the import of the sentences becomes doubtful, thus making their meanings obscure. In this speech, there may be frequent use of Yamaka, Anuprāsa and other S'abdncitras, S'leșa, eto. II. 8-15. After explaining the different stages of human speech, Rājasekhara proceeds to characterisc the various grades of development in divine speech which seem to be purely imaginary and fanciful. The creator in the beginning of creation taught a language to his 64 disciples Brahmā and others, and this speech was known as the Pārameśvara or Divya. This speech was adopted by the different grades of divine beings and practised according to their capabilities. The Piśācas and Apsarasas are represented to be using the Divya language in their lands, but they are nevertheless allowed in the Sanskrit drama the use of two other languages namely, the 4979 and the acTHI9 respectively. The original language facut or YÀTT which is spoken by divine beings is divided into four different classes, representing the four styles of writing: agra, etc. Yoginīs are probably the female attendants of S'iva or Durgā and their language is here represented by the word योगिनीगत. The female magicians, such as Kāmandahi, Kapālakuņıļalā etc. described, for instance, in the Mūlatīmādhava may also be represented by the word Yugini. It is, however, not worthy that theso four speeches generally resemble the four Rītis à qui, गांडीया, पाञ्चाली and लाटीया respectively. [1. 20. यञ्चन्द्र. found in सदुक्तिकर्णामृत and सरस्वतीकण्ठाभरण.] 1. 16. Page. 30. 1. 15. ftragtorinirror of saints. Best saints also obtain the knowledge of their own self in His presence. Page. 31, 11. 1-4. The main headings under which language is divided, are three: Brāhma, S'aiva and Vaisnava. Under Brālıma speech are included the dialects of the Rşis and their followers, while under S'aiva are mentioned the dialects known as Pārameśvara or Divya. Now, the dialect coming under the Vaişnava or the Mănușa form of speech is deali with. This form of speech is chiefly needed for poets of classical literature. Though Rāja- ·SEVENTH ADHYAYA 171 - sekhara is primarily concerned only with this third variety of speech, he mentions nevertheless the first two kinds of speech, namely, the dialects of the primitive sages and divine beings, because he wanted to show the different stages of linguistic development and also because these are employed by dramatists in their dramas. *[ll. 5-25. वैदर्भी गौडीया ef. सा त्रेधा-वैदभी गौडी पाञ्चाली चेति। वामन. 1.2.17. काकुर्वकोक्ति. etc. cf. विस्पष्टक्रियमाणादक्लिष्टा खरविशेषतो भवति । अर्थान्तरप्रतीतिर्यत्रासी काकुवक्रोक्तिः ॥ रुद्रट-काव्यालङ्कार. 2-16. of also काकुर्वक्रोक्तिस्त्वलकारत्वेन न वाच्या । पाठधर्मत्वात् । तथा चाभिप्रायवान् पाठधर्मः काकुः । स कथमलङ्कारी स्यादिति यायावरीयः । गुणीभूतव्यङ्ग्य प्रभेद एव चायम् । शब्दस्पृष्टत्वेनार्थान्तरप्रतीतिहेतुत्वात् । यदाह ध्वनिकारः- अर्थान्तरगतिः काका या चैषा परिदृश्यते । सा व्यङ्ग्यस्य गुणीभावे प्रकारमिममाश्रिता ॥ सा च काकुर्द्विधा-साकाङ्क्षा निराकाङ्क्षा च । वाक्यस्य साकासनिराकाहत्वात् । यस्माद्वाक्यात् यादृशः सङ्केतबलेनार्थः प्रतीयते न तादृश एव, किन्तु न्यूनाधिकः प्रमाणबलेन निर्णययोग्यस्तद्वाक्यं साकाडम् । तद्विपरीतं निराकाहम् । वक्तृगता ह्याकाहा वाक्ये उपचर्यते। सा च प्रकरणबलानि- श्वीयते । विशिष्टविषयत्वं च तस्यास्तत एवावसीयते ॥ हेमचन्द्र काव्यानुशासन V. साकाङ्क्षा and निराकाला ef. द्विविधा काकुः । साकाड्डा निराकालेति । साकाङ्केति । नाट्यशास्त्र chapt. 17; also सरस्वतीकण्ठाभरण 2-56. नवजलधरः. विक्रमोर्वशीय IV. I.] 11.5-8. Vāmana mentioned three Rītis. But Rudrata who flourished later added a fourth and called it Lātīyā. After him came Rajasekhara who, though conversant with Rudrata's view, did not accept the Lātīyā Rīti, but followed Vamana in this respect. The reason why Rājasekhara ignored the view of Rudrațn seems to be that he did not sec any necessity of acknowledging a separate Rīti beyond Pāñcālī, probably because the definition of Rudrața which is given below, did not convince him of the necessity. द्वित्रिपदा पाञ्चाली लाटीया पञ्च सप्त वा यावत् । (K. A. 2-5.) The three Rītis and the different Kakus form parts of instruc- वाक्यस्य ·172 EXPLANATORY NOTES 110 tion on reading. The reader should observe these Rītis with proper intonations on the Kākus while reading poetry, so that the meaning may be readily understood by the listener. 1. 10. Kākuvakrokti is one of the S'abdālankāras according to Rudrata. Yāyāvariya disagrees with him, but follows the definition of Anandavardhana who seems to think that Kāku is a variety of intonation which serves to bring out only that sense of a passage, intended by the authors to convey, and other. (For further information, see pp. 212-213 of Dhvanyāloka and Locana ). 1. 15. Again, a sentoncc may be used with two varieties of Kāku, namely FIF and attir, In such cases the question raised by the first Kāku will be answered by the second. The verso fe À FEHT etc. is an example of this kind. Here, a Nāyikā replies to her friend who had put a question as to whether her lover could be mado sympathetic towards her by the Dūtī whom sho had sent. The reply of the Náyikā with आक्षेपगर्भकाकु and, therefore, is 171. erist is denoted by the #1 which bears an express censure on the Dūti who had become faithless to her. The same verse may also denote fare and, therefore, becomo facial5. Vidhi is indicated in the sense that in case the Dūtī faithfully carries out her wishes tho Nāyaka will certainly be drawn towards her ( Náyikā ).' 1. 18. प्रश्नगर्भा। The verse गतः स कालो etc. is found in the Balarāmāyaṇa of Rājasekhara (3. 2). This versc may be interpreted with two kinds of Kiiku, namely, 991 and Jat thus making it both साका and Patria In this verse an cagle tells his wife that those unys when Rāvaņa was everywhere successful are gone, and that evil days have dawned on him so that his enemies are crowned with success. Here two different intonations on the part of the speaker on the words a: and gara will indicate both a question and its answer. 1. 21. faza cte.-The third and last variety of Kāku is illustrated in the verse gaat, etc. Each pāda of this verse will be read differently with two Kākus denoting doubt and decision, and thus make the sentence both साकाङ्क्ष and निराकाङ्क्ष । 1. 26. These three Kākus each with two varieties are invariably .

·SEVENTH ADHYAYA 173 connected with one another. There are, besides, other varieties of Kāku but they may occur without any definite relation amongst themselves. चन. Page. 32. *[1.1. THEZ. Qofter 1-12]. ll. 1-4. The first three lines in this verse have the Kāku denoting अभ्युपगम while the last line indicates अनुनय. It may be noted here that the two ideas expressed by the two Kākus are not interdependent. • *[1. 5. मनामि. वेणीसंहार 1-15 ]. 11. 5–8. Here first three lines have the 39€T4 Káku by which the real intention of the speaker is revealed, though it is quite contrary to the sense expressed by the lines. The Kāku denoting 8*975 is found in the last lino, ind here also in reality, the speaker does not intend to have af as he says. ll. 10-13. This is a verse with thrce kinds of Kāku. Here each line contains thrce Kakus, nemely, अवधारण, अपन्ह्व and अनुशो- The words i have the Kaku of stayi TUT; A s otc. have the 3979 Käku, while the whole line must be read in a way so as to show 31877 of the speaker. *[ 1. 14. sezai (FFUT. 9-39). ] 11. 14-17. In this verse four kinds of Kaku are expressed. They are quito different from one another and have intonations on four small sentonces contained in this By these four Kakus रोक्ष्य, प्रतिबोधन, औत्सुक्य and निर्वेद are expressed in the four sentences, one following the other in sequeuco. II, 18-19. For the continuation and context of the verse garai etc, see Kirātārjuniya 9-40. किं गतेन न हि युक्तमुपैतुं कः प्रिये सुभगमानिनि मानः । योषितामिति कथासु समेतैः कामिभिर्बहुविधा धृतिरूहे ॥ The different varieties of Kaku with the same illustrations aro also found in the S’șngāraprakiisa of Bhojadeva ( Prakäśa VII) and in the Bhāvuprakāśana of Säradātanaya (GOS. ed. p. 146.). both of whoin seem to liave drawn their information on Kākus from the present work, verse.

·174 EXPLANATORY NOTES 1. 20. The further portion of this chapter shows the importance of the knowledge of Kūku for a clever reader. 1. 21. TFATNI #=histrionics of Sättvika and Angika. 1. 23. The accents in Vedic Mantras, and changed accents in compound words for the purpose of obtaining different connotations from the same words, according to the rules of grammar, may be called the Kākus of the Sāstras. 1. 25. The Kāku not only reveals a different sense from the ordinary meaning of the words, but also trains the reader in histrionics in order to enable him to express the different senses conveyed by the words. ll. 26-27. Here Räjuráckhara praises the poet or the reader who is able to use appropriate Kūkus either in his poctry or in reading. But Anandavirdhana is, however, inclined to characterize such kivya as inferior or yoftuac76 because in this Kivya the suggested ideas are expressed by the Kāku. (see Dhvani PP. 212-213). The substance of Dhvani is held by Avandavardhana as the best form of poetry; but this theory of Dhvani is not recognized by Rijasekhara in spite of the fart that the theory was well-known in the field of literary criticism even before the 9th century A. D. Page. 33. [ For the firbo and 71z4jur (j. HTAÐlaze chap. 17. FETTA 1918; ) ]. 1-.. Here it is said that mastery in the art of reading Kūvya can be obtained only by those persons who are highly cultured. The author even goes further and states that the art of composing poetry appears to be quite easy when compared to its reading 11. 3.-4. Like the art of singing, the art of correct reading is not obtained in one birth, but it is the result of experience in many previous births. 11. 7-8. lIere is given an account of the different intonations for reading diferent types of poetry. The portion of poetry whore the Guņa gat is found, Dandin defines प्रसन्न as प्रसिद्धार्थम्. प्रसन्न।

·SEVENTH ADHYAYA 175 तद्विरोधिनि। ओजस् is the Guna opposed to the प्रसाद, and it is defined by Dandin as समासभूयस्त्वम्. While reading this kind of poetry the intonation should be of the are variety. 11.9-12. In these two verses an account has been given of good and bad forms of reading. *[1. 15. यथा व्याघ्री हरेत् found in Panini's and Yajnavalkya's S'ikşās; ] ll. 25-28. Fromn liere onwards Rajasekhara gives the different methods employed .for reading the Kavya ly men belonging to different countries of Judia. The people who reside in the countries cast of Benares, read Sinskrit well but their reading of Prākrta is very bad. *[]. 27. ब्रह्मन् विज्ञापयामि quoted in सरस्वतीकण्ठाभरण 2-11. निन्दार्थानुवादेन गौडेषु प्राकृतानौचित्यं राजशेखरेण व्यजितम् ॥ रत्नेश्वर । ] Page. 34. 11. 1-2. Here also the reading of the Gaudas inects with unfavourable criticism as it does not conform to any of the rules of reading. The reading 915: is suggested here instead of 4187 owing to the nature of the adjectives नातिस्पटः (tc.; the word बाटब is to be taken here to mean something belonging ter it Brailumana. 11.3-4. Kill ņītas are criticizel here is they ire always fond of using the letter 'ta' verywhere will paying any ittention to the Rasa or Rīti or (ruma in the poetry they real 11.5-6. Flat:- knowing that it is post1')'. The reading of the Drāvils is said to be always accompanied with music whethor they riad poetry or prose or Campu. *[l. 7. पठन्ति लटभं f. शृण्वन्ति लटभं लाटाः प्राकृतं संस्कृतद्विपः । अपभ्रंशेन तुष्यन्ति स्वेन नान्येन गुर्जराः ॥ सरस्वतीकण्टाभरण. II. 13. cf. यद्योनिः किल संस्कृतस्य मुदशां जिह्वासु यन्मोदते यत्र श्रोत्रपथावतारिणि कटुभाषाक्षराणां रराः । गद्यं चूर्णपदं पदं रतिपतेस्तत्प्राकृतं गद्वच- स्ताँल्लाटॉललिताङ्गि पश्य नुदती दृष्टिनिमेपक्रतम् ॥ Ibid. II. 16. गौडाद्याः संस्कृतस्थाः परिचितरुचयः प्राकृते लाट देश्याः सापभ्रंशप्रयोगाः सकलमरुभुवष्ट कभादानकाच ।

·176 EXPLANATORY NOTES आवन्याः पारियात्राः सह दशपुरभूतभाषां भजन्ते यो मध्येमध्यदेशं निवसति स कविः सर्वभाषानिषण्णः ॥ काव्यमीमांसा P. 51. and also गिरः श्रव्या दिव्याः प्रकृतिमधुराः प्राकृतधुराः ACTISTSİT: THTH 17:17 TATA विदग्धानामिष्टे मगधमधुरावासिभणिति- निवद्धा यस्तेषां म इह कविराजो विजयते ॥ बालरामायण. 1-11.] ll. 7-10. In these two verses, the methods of reading employed by the people belonging to the countries II, yair and 770 are stated. All these countries are situated in the western part of India. For faut country ser page 94-4 of the Kāvyamīmāṁsā. Rājasekhara is inclined to believe that the people of the Lāța country hated Sanskrit as they were great lovers of Prākrta. This is borne out by the quotations above cited, and is probably one of the reasons which led him to lisregard the existence of a separate Riti described as Latīyā by Rudrata (sre p. 31-0 of the Kivyamimāṁsā). According to Rājasekhara the prople of Saurästra anı Travana were lovers of the main language, and while reading Sanskrit they adopted the same method as employeel in reading their own dialect. ll. 11-14. Here the Kashmirian poets are praised for their excellence in the art of reading. It is also said that some poets in the eastern side of Kashmir employ a nasal tone while reading. 11. 15-18. In this verse the reading of the Pāñcāla poets is characterized as the best, because their tone is best suited to different Rītis in poetry and possesses all the Gunas required for reading. In their reading all letters are clearly pronounced and properly punctuated. II. 19-20. Translate :- Only Vițas and S'akāras are allowed to use the letters as and frequently in their speeches, but not the good readers of poetry. Adhyāya VIII. Page. 35. *[ 7.18772727272: of. लोको विद्या प्रकीर्ण च काव्याङ्गानि । लोकवृत्तं लोकः । arh 1-3, et. seq. शब्दः छन्दोऽभिधानार्था इतिहासाश्रयाः कथाः । लोको युक्तिः कलाश्चेति मन्तव्याः काव्ययोनयः॥ भामह 1-9.

·EIGHTH ADHYAYA 177 Most of this chapter is quoted in Hemacandra's Kåvyânus'asana-viveka and Vagblata's Kavyûmuśāsana. Not quite of this but of a similar type, are the various Paricays in the fifth Sandhi of the Kavikanthābharaṇa. Vinayacandra in his f/57BTEIT mentions तर्कपरिचय, व्याकरणपरिचय, चाणक्यपरिचय, धनुर्वेदीय (the quotation is the same as one in the Kavyamiminsil, स दक्षिणापाश.) उत्पाद्यसंयोग (quotation is the same as in the Kāvyamīmāṁsā, shafè Tila) भारतपरिचय, रामायण- परिचय, मोनोपायपरिचय, आत्मज्ञानपरिचय, धातुवादपरिचय, पुरुषलक्षणपरिचय, द्यूतपरिचय, चित्रपरिचय, वृक्षपरिचय, वनेचरपरिचय, भक्तिारिचय, विवेकपरिचय, प्रशमपरिचय, हस्तिपरिचय, वैद्यकपरिचय, शास्त्रपरिचय, धनुर्वेदपरिचय, गजलक्षणपरिचय, तुरगलक्षणपरिचय. ] 11. 1-5. काव्यार्थयोनयः। The sources of the theme of poetry aro detailed in this chapter according to the classification schemo given by the author in the first chapter. The faculty of discovering an appropriate theme for poetry after examining these sources is called Vyutpatti, ind this luis already been dealt with in the fifth chapter. The early writers on pouties mentionul these services ils 71741 or limbs of photry, and they advise the poets to be suficiently conversant with them. But this list of 12 or 16 sources adopted by Rājasebhara is not found in any of the earlier works. Among tlie lists given in the cirly treatises, the list of Vāmana seems to be fairly Hhaustive and to the point (sip 1, 3, 1-20). Rudrata's list is almont similar to that of Bhämaha (1-9) and is given below:- छन्दोव्याकरणकलालोकस्थितिपदपदार्थविज्ञानात् । युक्तायुक्तबिचेको व्युत्पत्तिरियं समासेन ॥ (K. A. 1-18.) Rudrata holds that there is nothing in the world of words or things which cannot be inade use of iil poetry, and, therefore, tho poet must be conversant with all varieties of subjects. Rudrata-says: विस्तरतस्तु किमन्यत्तत इह वाच्यं न वाचकं लोके । न भवति यत्काव्यानं सर्वज्ञत्वं ततोऽन्यैषा ॥ (K. A. 1-19.) On this point compare Bhāmala :- न म शब्दो न तद्वाच्यं न स न्यायो न सा कला । जायते यन्न काव्याङ्गमहो भागे महान् कवेः ॥ (K. A. 5-4.) - - ·178 EXPLANATORY NOTES Also Bharata's Nāțyaśāstra : न तत् ज्ञानं न तत् शिल्पं न सा विद्या न सा कला। न स योगो न तत् कर्म नाट्येऽस्मिन्यन्न दृश्यते ॥ 1-117. But Dandin in his Kāvyādarśa condensed the same idea in a remarkably short sentence: श्रुतं च बहु निर्मलम् । 1-103. Later writers on poetics, such as Abhinavagupta, Mammața and others followed the same list and illustrated each point in the same way as Rājasekhara did. (Sce commentary of Abhinavagupta on the above verse of Bharata (G.O.S. ed. p. 42) and the Kāvyaprakāśa 1-3). *[l. 6. उर्वशी. (शतपथ. 5-1-2) 1. 11. यदेतन्मण्डलं Cf. महानारायणोपनिषत् XII. 23 1. 15. एतद्यत्. सूर्यशतक. 89.] ll. 17. Construe and translate :-अयं वेदवेदी समग्रः वर्गः यं वेदत्रितयमयं q=this entire group of people who profess to know the Vedas acknowledge hinm who is the embodiment of the three Vedas: सः सूर्यः वः श्रियेऽस्तु । *[l. 24. हंस प्रयच्छ (विक्रमोर्वशीय. IV. 17.) Cf. वाक्यघटना । यथा-हंस etc. इयं पूर्वशास्त्रनिबद्धस्योत्तरार्धस्य तदर्थाननुयायिनाऽपि प्रस्तुतार्थाविरुद्धेनैकवाक्यतयैव घटित- त्वाद्वाक्यघटना । सरखतीकण्ठाभरण. II.] 11.22-25. In this verse quoted from the Vikramorvasiya, the king Purūravas requests a swan to return his beloved saft as it had misappropriated her graceful gait of walking. To accuse the swan with a charge of the theft of his beloved, Kālidāsa quotes Nārada where it is said that a person can be charged with the theft of the whole property when a portion of the stolen property is actually found in his possession. Cf. यथाऽऽह नारदः-अनेकार्थाभियुक्केन सर्वव्यापलापिना। विभावितैकदेशेन देयं यदमियुज्यते ॥ (Jimūtavāhana's Vyavahāramātrkā: Memoirs of A.S.B.p. 311.) निन्हुते लिखितं नैकमेकदेश विभावितः । दाप्यः सर्व नृपेणार्थ न प्रायस्त्वनिवेदितः ॥ (Yajidavalkya.-Vyavaharakanda 20.) एकदेशविभावितो नृपेण सर्व दाप्यः ॥ Gautamasmrti.

·RIGHT ADHYZYA 178 36. Page. 36. *[l. 1. न स संकुचितः (रामायण- किष्किन्धाकाण्ड. 34-18). 1. 3. मदं. (जानकीहरण. XII. The first half reads as: पदं नवैश्वर्यबलेन लम्भितं विसृज्य पूर्व समयो विमृश्यताम् ॥ 1. 7. हिरण्य. from अमिपुराण ।] 1. 7. Cf. Vayupurana. chapter. 67.:- हिरण्यकशिपुर्दैत्यः श्लोकैर्गीतः पुरातनैः । "राजा हिरण्यकशिपुर्यां यामाशां निषेवते। तस्यै तस्यै दिशे देवा नमश्चक्रुर्महर्षिभिः ॥" [l. 9. स सञ्चरिष्णुः (माघ. 1-46.) 1.21. सामान्यवाचि quoted anonymously in कवीन्द्रवचनसमुच्चय (No. 270).] 11. 19-24. प्रमाणविद्या includes, according to Rajasekhara, not only the thrie Vedic schools of philosophy but also the other heterodox schools, such as the Bauddha, Arhata and Lokāyata which are taken as पूर्वपक्षतर्क on p. 4. 1. 17 of this work. The Mimāṁsā has been separated from Tarkas on the ground that this school does not adduce any argument against the injunctions of the Vedas, while the Tarkas attribute greater importance to rational arguments than to Vedic injunctions. The word Mimāṁsā also means afarafart, or in other words, discussions conducted on the assumption that the Vedas are of superior authority while decisions arrived at by mere arguments are called Tarkas. Hence HHIAT and are classified as different Pramāṇas. Mīmāṁsakas believe that a word at first means an entity in general and the particular thing meant by the speaker is understood only when it is connected with the meanings of other words in the same sentence. See Jaimini's Sutra आकृतिस्तु क्रियार्थत्वात् । 1-3-33. Here आकृति is taken as सामान्य or जाति which each noun signifies. See, Kumārila's definition of stafa. जातिमेवाकृति प्राहुर्व्यक्तिराक्रियते यया । सामान्यं तच्च पिण्डानामेकबुद्धिनिबन्धनम् ॥ ३ ॥ तनिमित्तं च यत्किञ्चित्सामान्यं शब्दगोचरम् । सर्प एवेच्छतीत्येवमविरोधोऽत वादिनाम् ॥ ४ ॥ S'lokavärttika-Akrtivāda. see also कक्षान्तरितसामान्यविशेषेषु हि दुर्बलः । सामान्यवचनः शब्दो जायते लक्षणाबलात् ॥ २७-२८ Ibid. Sambandbākşepavāda.

·180 EXPLANATORY NOTES Among the Mīmāṁsakas, the followers of Kumārila are called farazzarfent because they hold that a word in a sentence is capable only of expressing its meaning, while its connection with the meaning of other words is decided on seeing the nature of other words in the same sentence. But the Piābhākara school of Mimāṁsā believes in sifaarfaturalare and holds that the meaning of cach word is 37f797 or comiected with others. According to this school also 37f-48ATART is the expressed meaning of the word, vlhile अन्वितविशेष is the ineaning derived hy its connection with other words. ta Page. 37. *[1.1. Apat (ftat 2-16.) ]], 1-6. The Sānklyas are called Satkāryavāslins while the Naiyāyikas call themselves as Asatkūry:vādins, and the two schools are, therefore, opposed to each other. The theory of chart is that the effect produced by a cause is not entirely clifferont from the cause, and that the effect also always exists in the cause. Similarly, the cause of an effect does not entirely disappear after the production of the effect, but it exists in the form of that effect. This may be illustrated by the instance of gold and golden ornaments. arcat faza 17:=a thing that does not exist cannot be produced. Anitat faqat 11:=the existing one (cause ) does not perislı ( after producing the effect ). In the verse I gå etc. the same theory is illustrated on the analogy of the earth and earthen vessels, thus showing that the effects are not different from the cause which in this case is earth. *[1.9. किमीहः किं कायः (महिम्नः स्तोत्र 5).] ll. 7-12. For Rājasekhara’s conception of the existence of Isvara and his creation of the world, see Nyāyasūtra of Gautama 4. 1. 19-21, Nyāyavárttika of Uddyotakara on these sūtras, Nyāyamañjarī of Jayantabhayța pp. 190-204 and the Praśastapädabhāşya on Kaņādasūtra pp. 48–49. Regarding the ऐश्वर्य of Išvara, the following verse is quoted by Udayanācārya in his Kusumāñjali fifth stabaka :--- सर्वज्ञता तृप्तिरनादिबोधः स्वतन्त्रता नित्यमलुप्तशक्तिः । अनन्तशक्तिश्च विभोषिधिज्ञाः षडाहुरङ्गानि महेश्वरस्य ॥

·EIGHTH ADHYAYA 181 ll. 13-18. The Vijñānavādins among the Bauddhas do not believe in the existence of the objective world except the Vijñāna. According to them, therefore, words cannot denote any outwari object, but produce a momentary effect and transmit the idea of the speaker to the minds of his hearers. The view of the Vijñānavādins has been clearly explained by Sāntarakṣita and Kanalaśılar in their works Tattvasangraha and its Panjikā (GOS. Nos, 30-31). ef. विवक्षानुमितिश्लिष्टमाकारं बाह्यभावतः । व्यवस्यतोः प्रवृत्तिश्चेत्तदेवास्मन्मतं पुनः ॥ Tattvasangraha. p. 290. Kainalasila quotes a line from an earlier work in support of this view. 37737 स्वाहुः 'अर्थविवक्षां शब्दोऽनुमापयति ।' यथोक्तं "अनुमानं विवक्षायाः शब्दादन्यन्न विद्यते ॥" Tattvasangraha. p. 289. This view is illustrated by the verse wag etc., in which the same words such as 7 of 9 HAT etc., spoken by a lady al. one time couvey Ame or denial, while at another her acceptance, according to circumustances. 11. 19-23. Lokāyatikas or the atheists do not recognise the soul or Ātman who inay onjoy the fruits of his action either in heaven or in hell after death. They also hold that the Vijñāna or consciousness found in living beings arises out of a combination of the five clements, in the same way as a few ingredients produce wino, This theory of the atheists also is quoted and refuted by S'āntarakşita in the Tattvasangraha. of. तस्माद्भूतविशेषेभ्यो यथा शुक्तसुरादिकम् । तेभ्य एव तथा ज्ञानं जायते व्यज्यतेऽथवा ॥ FEA =those who meditate on the Supreme Being. p. 520. 11. 24-25. The soul, according to the Jains, is the doer and enjoyer of all actions and is of the same size as the body. They also consider the futility of the body or Ātman in case the size of the soul is acknowledged as either smaller or larger than that of the body. This is what is shown by an example in this verse.

·182 EXPLANATORY NOTES Page. 38. 1. 3. griecare' because it is fit for all kinds of cultured associations. The word Pārşada may refer to the Vedic Sutra literature belonging to several parişads as well. The Prātiśākhya works are included in the Pārşada literature. The word generally uneans grammatical works affiliated to the Vedas. See Nirukta 1. 17 and the Prātiśākhya section of the History of Ancient Sanskrit Literature lsy Max Muller, (p. 68-70) 11. 7-9. for='religious doctrines'. The terms घोर, घोरतर, ब्रह्म, विद्या, कला, and परापरपद refer to the different tenets of the doctrine of the Saivites. ll. 10-13 That the Pancarātra doctrines are based solely on the theory of the four Vyāhas of प्रद्युम्न, अनिरुद्ध, सङ्घर्षण and वासुदेव, is explained here in detail, sat=the sufferings both mental and physical. 1). 14-17. The Mahāyāna School of Budilhism enjoins that the Bodhisattva should have great compassion for the suffering humanity and should not receive emancipation, though fully entitled to it, until the whole creation is delivered. Further, the Bodhisattva is required to work continuously for the emancipatiou of living beings by sacrificing his own merits, and taking the consequence of all bad actions done by others on himself. This theory of the Mahayānists and the description of the garaat heaven, which is above the ten Bhūmis are the subject matter of this verse festge, etc. Kumārilabbațţa quotes the same verse in his Tantravārttika and attributes its origin to Buddha (Tantravārttika 1-3. 2.). The Hinayānists, on the other hand, possess no such compassion for the suffering humanity as Mahāyānists do, and they desire emancipation only for themselves. In this verse the methods of a Mahāyānist Bodhisattva are described. For further information on the two Yānas of the Buddhists compare Tattvasangraha: (p. 872.) ये तावज्जात्यादिदुःखोत्पीडितमानसाः संसारादुरस्तमनसः तदुपशममात्मनः प्रार्थयन्ते तेषां श्रावकादिबोधनियतानां संसाराद्भयमेव नैरात्म्यभावनार्थित्वनिमित्तम् । ये तु गोत्र विशेषात्प्रकृत्यैव परहितकरणैकाभिरामाः संस्कारादिदुःखत्रितयपीडितं जगदवेक्ष्य कृपापरतबतया तहुःखदुखिनः खात्मनि व्यपेक्षामपास्य सकलानेव संसारिणः आत्मत्वेनाभ्युपगताः तत्परित्राणाय प्रणिदधते तेषां करुणैव भावना प्रवृत्तिनिमित्तम् ॥

·EIGHTH ADHYAYA 183 1. 18. Wegrazed=The three S'āstras of Artha, Nătya and Kāma are mentioned here as of interest only to the royal personages, because it is only the kings who are able to practice, follow and appreciate the doctrines inculcated in these Sāstras. *[1, 19. 7400177#xat ( TESTARP 1-24). ] 11. 19-22. This verse of Rājasekhara has also been quoted by Abhinavagupta in his fathreat while commenting on the verse of Bharata - agri, etc. see Abhinavabhārati (G.O.S. No.36. p. 42.) For an explanation of this verse, compare the TASTATT chapter of the Arthaśāstra of Kautilya. शमव्यायामी योगक्षेमयोर्योनिः । कर्मारम्भाणां योगाराधनो व्यायामः । कर्मफलोपभोगानां क्षेमाराधनः शमः । शमव्यायामयोोनिः षाडण्यम् ॥ etc. 817919:='intention of declaring a war'. In this verse Rājasekhara exhibits his special acquaintance with the Arthasāstra of Kautilya. II. 23-26. This verse shows that the author was fully conver. sant with the contents of the Nāțyaśāstra; for, he describes not only the dancing postures, but also explains such technical terms as sffaraset etc. which pertain to the science of music. Cf. Nātyaśāstra : अनभूता हि तालस्य यतिपाणिलयाः स्मृताः । त्रयो लयास्तु विज्ञेयाः द्रुतमध्यविलम्बिताः ॥ 31. 831. Page. 39. *[1. 2. spat Aracata cf. 1994 2.1.3, 9 and 13. 1. 2. #fra:='from the Mandara mountain' or 'one with dissimilar conjugal affinity.' FAX:='from the war' or 'one with similar conjugal affinity'. II. 3-9. Poets are here advised to mix freely with common folk in order to be acquainted with their mode of life and expression. The mode of life is generally recognized as of two varieties :

·184 EXPLANATORY NOTES as le the cultured and the uncultured. IIow the uucultured folks behave and how they express themselves are treated in these two verses. स्पुटितपिठरी=cracked pan. Here an uncultured woman talks to her lover regarding the changed treatment she was getting from him of late. The following шау be cited in this connection as a contrast to illustrate a refined address on the same subject. पुराऽभूदस्माकं प्रथममविभिन्ना तनुरियं ततो नु त्वं प्रेयानमपि हताशा प्रियतमा । इदानीं नाथस्त्वं वयमपि कलत्रं किमपरं मयाऽऽप्तं प्राणानां कुलिशकठिनानां फलमिदम् ॥ In the second verse ecogri etc. a popular mode of expression is illustrated while describing the days of the Phālguna month in which things such इक्षुदण्ड, etc. very commonly enjoyed by the country folk. See the description of Hemanta und Sisira on pp. 102-104 of this work. For the correctness of the word hq see notes on p. 2. 1. 6. Jl. 10-19. JAFFA5772:='pertaining to several groups of people'. #fa92777777-pertaining only to a limited circle'. T'he verse fara etc. exhibits the knowledge of the poet concerning the topograplıy of South India where Arz, aires and hy are common products of tho land. In the second verse the feelings of women of the Kuntala country in ainorous sports are described, while the third gives an idea of the geographical peculiarities of the Nepal country. gleTO&T=an avenue made up of a kind of fragrant trees'. *[ 1. 18. आर्द्रणमदमण्डना' कस्तूरीपङ्कमण्डनाः ।। II. 20-23. In this verse are described the actions of a Nāyikā who wanted to put a stop to the conversation of her lover with her friends, in order to secure privacy; as also the action of her lady-friends who knew the Nāyikā's intention and left the place on the plea that they were called by somebody outside. Page. 40. 1.7. The reading area is adopted herc as it is found in two Mss B and C. and it is changed into st: as it is required to ·EIGHTH ADHYAYA 185 and be construed with the word यस्य. The first half of the verse should, therefore, be construed as: यस्य कथासर्गः न नीचैः, अथ न प्रतिभाक्षयः स कविग्रामणीः । According to the reading available in Ms A, however, the construction will be as follows:- यस्य (कवेः) अर्थकथासर्गे (!) न नीचैः, (यस्य ) न प्रतिभाक्षयः स कविप्रामणीः । This construction also gives a good sense inasmuch as the spef and a developed by a poet through his power of imagination described in the last two verscs, are the subject-matter of this Sloka. The only defect in this reading is that the two words aita: and aft: do not sound well. An emendation An emendation may be suggested giving a better sense as : -नवीनार्थकथासर्गे यस्य न प्रतिभाक्षयः । स कविग्रामणीः। but this emendation is not supported by any of the Mss available. 11. 9-13. A knowledge of different sciences and common practices is considered necessary for poets by later writers such as Kșomendra, Hemacandra, Vāgblața and Vinayacandra who have included several varicties under the heading of Prakīrņaka. But Rājasekhara illustrates only four kinds of them and suggests several more worthy of being known by poets, saying: एवं प्रकीर्णकान्तरमपि । On Hastiśikṣā, for instance, the verse #anai etc. is quoted here as an illustration. IIcro the well-known habit of clephants while bathing in the river is correctly observed in the description of Irāvana's throwing up water. *[1. 18. स दक्षिणापाङ्ग ( कुमारसंभव. III. 70.)] Page. 41. *[ 1. 2. qusets anda. ( Tuša VI. 60) 11. 1-5. These last four additional sources for the theme of poetry, introduced by Rājasekhara for the first time, are not referred to by any of the later writers, though the other twelve sources are quoted sometimes with the same illustrations as given by our author. It is not, however, easy to surmise how these four principles उचितसंयोग etc. considered as acutala by Rājasekhara. But it is clear that Rājasekhara has shown by these four illustrations the four methods of description. Catata is 'the appropriate connection (of things )'. 11. 6-9. lepegtet:=the connection of a thing already descriare २४ ·186 EXPLANATORY NOTES bed as connected with others. In this verse the dust raised up by the march of an army is described as already connected with other things such as grepeagrail and 74:Hea of Indra. This dust is said to have been mixed up with the water of the celestial Ganges where the divine ladies are accustomed to take their bath. *[ 1. 10. gairah Sah ( 779. III. 8.)] 11. 14-19. Merera:=change due to connection. Imaginary and natural changes are described in these two verses one after the other. oftra. This verb is derived from the root पीङ्. पाने of श्यन्विकरणि. सः Adhyāya IX Page. 42. *[ Pages 42-44. 1. 10. are quoted by Hemacandra in his eta garaia. pp. 122–123. ] ll, 1-4. stands for foreztef or the theme of poetry. Drauhiņi's view is cited here for the second time. For the other reference see notes on p. 2. 1. 24 of the present work. Pean means the activities of divine beings. ll. 5-8. The first half may be construed thus: AhaaraTZ रम्भया नलकूबरस्य विरहात् (तं) स्मृत्वा उत्कञ्चलं तुम्वुरोः वीणासमं यत् उद्गीतम् । Kavyānusāsanaviveka reads उत्कण्ठसंरम्भया instead of उत्कक्षुलं रम्भया । *[1, 13. f3: qfa: (919. 1. 1.)] Page, 43. 11. 20-23. If the reading marios: is adopted, sofa should be connected with तक्षके. The words कपिल, कुलिक, स्वस्तिक, पद्म, TETT eto. are the names of different serpents in the nether world. Many of the names are found in the Mahābhārata ( Adiparya Adhyāya 35.) FTS seems to be the same as the father of S'ankhacūda, the serpent who was given protection by Jimūtavāhana, the hero of the drama, Nāgānanda. The subject matter of this verse also seems to be connected with the story recorded in the Nāgānanda. 11. 24-27. This verse describes the conversation between कम्बल, ·NINTA ADHYAYA 187 Karna and the serpent Aśvasena. A$vasena who was an enemy of Arjuna entered the quiver of Kapņu without his knowledge in the form of a serpent-mouthed arrow. When once Karpa failed to slay Arjuna with that arrow, the serpent Agvasena requested Karna to charge his bow with the same arrow again. But Karna refused. This last part of the episode is stated in this verse. For further details see Mahābhārata Karņa-Parva, 90. Out of the two words ata and 87990f used as epithets of the serpent, the signifi. cance of the first word is unknown, while the second auf denotes that the serpents are devoid of ears. after is Bhārgava Parasurāma and Karna is his disciple. 7: This shows that the arrows of the earth also are capable of achieving the same object as those of the nether regions. Page. 44. 1. 1. Fift etc. The four sub-divisions of the formatge group referred to on pago 42. 1. 9 aro said to be applicable in the case of the chararte group also. 11. 7-10. In this verse, events connected with persons belonging to the three worlds are described. For the story of Astika, the sage who protected the serpents Takşaka and others from being destroyed in the sacrificial fire of king Janamejaya, see the Astikaparva, a sub-section in the Adiparva of the Mahābhārata. That=shaking or moving. *[l. 13. विचारितसुस्थः of. तत्र दश विधश्चमत्कारः अविचारितरमणीयः विचार्यमाण- रमणीयश्च (कविकण्ठाभरण. Sandhi III.)] Il. 12-14. Followers of Udbhaţa classify the subject matter of literature under two varieties : विचारितसुस्थ and अविचारितरमणीय and hold that the S'āstric literature deals with the former, while the latter is the subject of kāvya. Probably Udbhata must have expressed this view in his commentary on Bhāmaha's theory as recorded by him in the two verses quoted below: तज्ज्ञैः काव्यप्रयोगेषु तत्प्रादुष्कृतमन्यथा । तत्र लोकाश्रयं काव्यमागमाः तत्त्वदर्शिनः॥ असिसकाशमाकाशं शब्दो दूरादुपैत्ययम् । तदेव वापी(रि)सिन्धूनामहो स्थमा महार्चिषः ॥ Bhāmaha's Kāvyālankāra 5, 33–34. *[ 1. 17. 814774FSH ( t. VI. 36 ).)

·188 EXPLANATORY NOTES ll. 15-19. Three examples are given here to illustrate Udbhața's theory of 710017ef but not of art. In the first two verses the colour of ether is described as blue like a blue lotus and like that of a sword, though really ether is devoid of any colour, तदेव घारि सिन्धूनाम् । etc. The second half of Bhāmaha's verse (5-31 ) is quoted liere as the third example. The readings artifarregati or air farrai as found in the editions of the Bhāmaha’s Kāvyālankāra may be read as gift for at which seems to be the correct reading. Here it is said that the water of all rivers is always the same and that the heavenly lights such as the moon and the stars are wonderfully fixed in their proper places. Followers of Udbhata hold that these descriptions are tafazaufte because in reality ether has no colour and water of all rivers is not the same at all times and the heavenly bodies also are not fixed in one place, and also because on scientific examination etlier is found to be without any colour whilo the stars are also found moving from place to place. 1. 20-25. Yāyāvaiiya does not agree with the view of Audbhațas because they hold that the Kūvyas only describe unreal aspects of things, and this means that the Kāvyas are valueless. He holds, therefore, that the authors of both Slāstras and Kūvyas describe objects as observed by them. Page. 45. 11. 1-2. Following the rules of Vyākaraṇa and Alankāra sāstras here the simile between the moon and swan, stars and Kumudas, sky and water, cloud and mud, is given. This is a description of the moon which shines on a clear sky with stars but appears as a swan moving on the surface of a lake where there are many lotuses. *L 1. 8. HET HRER. यस्तु सरिदद्रि. (Quoted in Hemacandra's काव्यानुशासन. under लोलट:-"तथा च लोछटः- यस्तु सरिदद्रिसागरनगतुरगपुरादिवर्णने यत्नः । कविशक्तिख्यातिफलो विततधियां नो मतः प्रबन्धेषु ॥ यमकानुलोमतदितरचक्रादिभिदोऽतिरसविरोधिन्यः । अभिमानमात्रमेतद्हरिकादिप्रवाहो वा ॥" p. 215.] 11. 3-9. Aparājiti who seems, in all probability, to be a follower of the Rasa school of Bharata advises poets not to indulge in a lengthy description of the rising sun or the moon etc. because it is likely to obstruct a natural outflow of Rasas in the minds of the ·NINTH ADHYAYA 189 audience or readers. Evidently this view of Aparājiti is to be applied only to the drama, because the best poets such as Kālidāsa, Bhāravi, Māgha and others, are found devoting some chapters in their Kāvyas for the lengthy descriptions of such things, and also because the earlier writers on poetics such as Bhāmaha and Dandin have laid down rules on the same lines for Malākāvyas. The word Toccuring in the two verses of Āparājiti also denotes the lengthy description of 799677724 etc. is disallowed only in a particular class of poetry, namely the drama, and not in the Kūvya as a whole. In fact, Āparājiti is to be identified with it as Hemacandra attributes the second of these two citations definitely to dia. ( see Kāvyānuśāsana p. 215 ) Lollața belonged to the Rasa school and a commentary on the Natyasāstra is also attributed to him. ( see Sargitaratnākara 1-1. 19. and Alliinavabhūratī. G.O.S. ed. pp. 266 and 274). 11. 10–12. Yāyāvarīya agrees with Āparājiti and adduces another reason in support of the same view that it is the method of presentation only which is responsible in rousing up tho different Rasas, and not the actual things that are so presented in the poetry. In order to prove this (lictum he cites some verses where the authors of high poetical skill are able to rouse up the different Rasas by means of excellent presentation of common-place happenings; whereas, inferior poets are unable to do so even though they may handle very sublime topics. [1. 23. धत्ते यत्किलकिञ्चितैकगुरुतामेणीदशां (बालरामायण 10-44 ).] 11. 13-26. Here the method adopted in describing the river Tamraparņi is such that the Rasa of Srngära becomes immediately roused through the geta fauna of the same Rasa. In the next two verses, similarly the Rasas Sệngāra and Adbhuta are aroused with the help of the उद्दीपनविभाव. tanya:=shores. Atacar:=moon. Page. 46. 11. 1.-7. All Mss read: sachaar which ought to be read as अरसवत्ता. This latter reading is more suited to the context and more in harmony with the subject matter of the verse cited below than the former, Rājasekhara here makes an attempt to prove on ·190 EXPLANATORY NOTES the principle of stapyuta that the methods of poetical representation of things alone are responsible for rousing or obstructing the Rasas, but not the atoual topios described. He cites, in support, three verses and shows on the principle of Strept, that an able delineation of commonplace things such as mountain, river eto. is capable of rousing the Rasas. Again, on the principle of fat he wants to show that an inexperienced poet is unable to rouse the desired Rasa even by handling such delicate subject as the fasteFHETUR. This context will not be supported by any other reading than fastestitate T971 as shown above. It will be evident that the reading 27h is meant by the author himself when he conoludes his arguments, saying: graffitsfo Trani Partera i 1. 6. The poet, in this verse fait arat: etc. describes the plight of a lover consequent on the separation of his beloved and attempts to delineate the fact TATT. But he failed to achieve his object as his poetical skill was not up to the mark. This is explained in the verse $#là: etc. where the author concludes his arguments. The following explanation of the stanza fauniit Har: etc. will evidently show how the poet's method of representation of SFHRIXR failed to rouse the same Rasa. “Where can my mind tormented by the separation of my beloved ( Nāyikā ) find happiness ? Objects both similar and dissimilar to her, have failed to make it happy. The former failed because they could not give complete satisfaction, and the latter because my mind is always attached to nothing except her.” *[ 1. 10. For hraft, a Jain grammarian, of. कुतस्त्या तस्य सा शक्तिः पाल्यकीर्तेमहौजसः । श्रीपदश्रवणं यस्य शाब्दिकान् कुरुते जनान् ॥ वादीभसिंह-पार्श्वनाथचरित्र. मुनीन्द्रमभिवन्याहं पाल्य कीर्ति जिनेश्वरम् । मन्दबुझ्यनुरोधेन प्रक्रियासङ्ग्रहं ब्रुवे ॥. अभयचन्द्र-प्रक्रियासङ्ग्रह I. This पाल्यकीर्ति is identical with the Jain grammarian शाकटायन. The sloka येषां वल्लभया is found in भोजप्रबन्ध and प्रबन्धचिन्तामणि.] 11. 8-14. Aparājiti seems to think that poets should make use of such things alone as are that which help in rousing the Rasa, and not those that are entirely devoid of Rasa. (see. p. 45. 11. 3, 4.) Rājasekhara's view is somewhat modified when he says that there are things both suited and unsuited to the Rasa but they have ·NINTH ADRYAYA 191 nothing to do with the enjoyment of Rasa in the poetry, because the poet's skill in presentation alone is responsible for that enjoyment. The contentions of Rājasekhara and Aparājiti are objected to by the followers of pilgre or at ledare of Jainism. According to this theory there is no entity which is endowed with only one form or quality. On this point, however, there is quite a great deal of controversy among the philosophers of different schools. For details see Tattvasangraha (G.O.S. Nos. 30 and 31 ), Syādvādaparikşā pp. 486-503. The Buddhists hold that one entity cannot have two qualities or forms. Brahmins attribute two or even more qualities whilo the Jains hold that an entity can have as many as seven of them (HE). Pālyakīrti, the Jain Grammarian, therefore, objects to the view of Rājasekhara and Aparăjiti, saying that the quality of an entity cannot be fixed as 492 or otherwise ; because the same thing my be 1897 in one, while it will be nice or उदासीन in another. This is illustrated by the example of the moon in the verse that agar etc. 11. 15-21. Avantisundari follows in the foot-steps of Pālyakirti, and thinks that especially in Kāvya the nature of things is not fixed; because, if the poet is clever he is able to present the same thing in different forms to suit different contexts. For instance, the same noon is described by poets at one time as Braty and at others as 1917. Rājasekhara, however, ultimately agrees with the views of both Pālyakīrti and Avanatisundarī. 11. 22-26. For the sub-divisions of Kāvya see Dhvanyāloka 3,7. Ancient writers on Alankāra such as Bhāmaha and Vāmana, divide Kāvyas into two either as space, and face or as geht and gamint respectively. See Bhāmaba 1-18 and Vāmana 1-3-27. Dandin, however, mentions several kinds of Kävya as qui etc; but he does not attempt to define them, as these do not possess any appreciable difference from the alar. see Kāvyādarśa 1-13. The srta ac or yn is only illustrated by Bhāmaha thus : अनिबद्धं पुनर्गाथाश्लोकमात्रादि तत्पुनः (1-30.) But Gopendrațippabhūpāla in his Kāmadhenu while commenting upon Vamana's Kävyālankärasūtra (1-3-27) quoted a verse defining 96% and attributes the same to Bbāmaha. This verse, however, is not found in the present editions of Bhāmaba's Kāvā. lankāra. The verse in question is quoted below :- ·192 EXPLANATORY NOTES मुक्तकलक्षणमुक्तं भामहेन- प्रथमं मुक्तकादीनामृजु लक्षणमुच्यते । यदेव गांभीर्यौदार्यशौर्यनीतिमतिस्पृशा ॥ भवेन्मुक्तकमेकेन द्विकं द्वाभ्यां त्रिक त्रिभिः । Abhinavagupta in his commentary on Dhvani (3-7,) however, gives a definition of मुक्तक in the following words : मुक्तमन्येन नालिङ्गितम् । तस्य संज्ञायां कन् । तेन स्वतन्त्रतया परिसमाप्तनिराकाङ्क्षार्थमपि प्रबन्धमध्यवर्ति मुक्तकमित्युच्यते ॥ The same idea is also expressed by Rājasekhara when he says: -tfaran: 15:1 Page. 47. *[ 11. 1-4. सा पत्युः (अमरु 29)]. ll. 1-4. Here is described the behaviour of a UFIRIT when she finds fault with the conduct of her lover for the first time. *[]. 5. दूरादुत्सुकमागते ( अमरु. 49 ) attributed to रतिपाल in कवीन्द्रवचन- समुच्चय. *[ 11. 9-12. दत्वा रुद्धगतिः records a historical incident. ध्रुवस्वामिनी or ध्रुवदेवी was the queen of चन्द्रगुप्तविक्रमादित्य and mother of कुमारगुप्त I] ll. 9-12. The subject matter of this verse is styled by Rājasekhara as कथोत्थः वृत्ततिवृत्तः । The word Kathā is controversial in the sense that it may cither denote an actual historical fact or may record mere tradition. But the incident alluded to in this verso may be taken as an historical fact. Evidently, it refers to the event connected with king S'rīšarmagupta, his queen Dhruvasváminſ and one Khasādhipati who was hostile to Sriśarmagupta. All these persons excepting Dhruvadevi or Dhrurasvāmini who was the queen of Candragupta II and the mother of Kumāragupta I of the Gupta dynasty are unknown to history. But the literary evidence culled from such ancient works as Harşacarita of Bāņa, (अरि(अलि)पुरे च परकलत्रकामुकं कामिनीवेशगुप्तो गुप्तः चन्द्रगुप्तः शकपतिं प्रशशास । 6th Uccvāsa); Devīcandragupta of Višākhadatta (fragments of which are available from the S'ộngāraprakāśa of Bhoja and the Nāțyadarpaņa of Ramacandra and Guņacandra. (G.O.S. No. 48); and Sañjan copperplates of king Amoghavarşa I dated S'aka 795 (E. I. Vol. XVIII p. 248) points to all these being names of historical personages. From the information obtained from different sources it appears that there was a king Rāmagupta by name who had ·NINTH ADHYAYA 193 contracted a humiliating treaty when he was attacked and defeated by a Slaka invader. By this treaty he was compelled to surrender his crowned queen Dhruvadevi. When the king consented to sacrifice his queen in order to save himself and his subjects, Chandragupta his younger brother to save the honour of his family volunteered to go to the enemies' camp under the guise of queen Dhruvadevī and killed the S'aka king. For further information refer to the Natyadarpaņa; pp. 223–253, of the Journal of the B. O. R. S. 1928 and tho Journal Asiatique for Octo.-Dec. 1923. In the verse quoted by Rājasekhara, however, the king is named as S'rīśarmagupta or S'rīsenagupta and tho invading king is reported as Khasādhipati instead of 'rīrāmagupta and S'akādhipati respectively. On tho strength of the cvidences adduced above the readings as an and TÁTA hero may be takon as scribe's errors for th and Tha respectively which seem to be the corrcct names. It is also suggested in the above mentioned journals on the evidence of the Devicandragupta, Sañjan copper-plates, and some coins of Candragupta and Dhruvadevī, that Candragupta II must have married Dhruvadevi the queen of his brother Ramagupta after killing him. But the verse quoted by Rajasekhara, however, has no direct connection with the incident referred to above. But this vorse certainly makes valuable contribution to the controversy regarding Rāmagupta's history by clearing two points : namely, the identification of the particular Saka king who invaded Rāmagupta's territory and the identification of Candragupta. The words खसाधिपति, यस्मात् and तस्मिन्नेव हिमालये in this verse undoubtedly show that a king is spelt in the Mss of the Kávyamīmāṁsā may be better identified with one of the Kuşāņa kings of the Western Punjab and not with the S'aka Kşatrapas either of Mathura or Malwa and that the war between the ay king and Rāmagupta or S'armagupta took place exactly in the portion of the Himalayas lying between the two kingdoms. In this case the word T4 in the Harşacarita and Devīcandragupta may be taken to denote the ma or Kuşāna king as the term 7% is often loosely used to denote even the non-S'aka foreign tribes. The word that also in this verse may refer to Skandagupta of the Gupta dynasty who is addressed in this verse and is २५ ·194 EXPLANATORY NOTES known to be the graudson of Candragupta II. This leads us to believe that Candragupta II who was styled as S'akārāti was the hero of the drama Devicandraguptam. In this verse the reign of Skandagupta is described to be so prosperous as to permit even the society ladies of the town freely to sing his fame without any danger coming from even the interior parts of the Himalayas where once king S'armagupta being defeated by the Khasa king was forced to give up even his queen Dhruvadevī. It may be remembered here that Skandagupta also bore the title Vikramāditya and inflicted a crushing defeat on the barbarous Huns. In this case the word day should be taken in vocative. This interpretation should be abandoned if the word forarte is taken as a compound and identified with the plangt mentioned in Pāndukervar copper plate and Talesvara charters. This कार्तिकेयge is also reported to be the modern village of Baijnath or Vaidyanath in Kumaun. (See Ind. Ant. Vol. XXV. p. 178. and Ep. Ind. Vol. XIII pp. 115 and 118.) There is also another plausible solution ragarding the identity of the Khasādhipati. The Rājatarangini of Kalhaņa, mentions the Khasas as a foreign tribe settled in widely diffused parts of the Himalayan regions even previous to the accession of king Mihirakula, the despotic ruler of Kashmir (cir. 6th century A. D.). Thus the readings as 799 in the MSS of the Harşacarita, S'ộngāraprakāśa and Nāțyadarpaņa may be ascribed to scribe's error for arila. Because it is clearly known from the verse quoted here that the Gupta king returned from the Himalayan regions after promising his queen to the Khasādhipati. Rājatarangini also states that the kings of the Khasas were known as the rulers of राजपुरी or खसालय or APS. These names indeed, bear a striking resemblance to the names denoting the head-quarters of Khasas such as खसाधि(लि )पतये quoted in this verse or अरिपुर, अलिपुर and अलिस्कन्धावार as found in the MSS of the Harşacarita and the S'ộngāraprakāśa. ( alama-aga: 771: स्कन्धावारमलिपुर शकपतिवधायागमत् ।) (For further information regarding the tribes Khasas who settled in the Himalayan regions, and once usurped the throne of Kashmir and whose descendants are known to-day as Khakhas in Kashmir, see notes by M. A. Stein in vol. I. 317 of the Rājatarangini translation.)

·NINTH ADHYAYA 195 Some scholars, however, maintain that the war between Rāmagupta and the S'aka king took place not in the Himālayas as stated above but near the city of Girnar or Girinagara in Saurāştra, on the strength of the readings shtyt or sgt in the Harşacarita and the S'ộngāraprakāśa, emended as Afgt. In addition to this emendation of Aripura into Giripura (Girnar ) they propose further to change this verse in the following manner : दातुं रुद्धगतिः शकाधिपतये देवी ध्रुवोपाधिका यस्मात्खण्डितसाहसो निववृते श्रीरामगुप्तो नृपः। तस्मिन्नेव हि रैवते गुरुगुहाकोणकणकीचके गीयन्ते बत ते कुमार शबरस्त्रीणां गणैः कीर्तयः॥ These emendations lose much value since there is no MS material in their support. Also, the word Forenar in the passage of the S'ộngāraprakāsa as quoted above denotes that Candragupta went only to the camp of the enemy and not to his capital in Saurāṣtra. These emendations, therefore, have to be accepted with caution. *[1. 14. Hasia ( 8185. 19 ). Page. 48. *[l. 1. fafa ( Arct#149 I). 1. 5. Tarafoa. Ibid. I. 1. 9. f. (HR. IV 41.) 1. 13. augut. Ibid. III 72. 1. 17. try: शिरश्चन्द्रकला. Ibid. VII 19.] Il. 21-23. Here poets are advised to acquaint themselves with the manifold subjects which find expression through the medium of Psākṣta dialects according to their ability and energy. 11. 25-26. Here it is said that there are certain ideas which can best be expressed only in certain languages, while there are others which are capable of being well expressed in several languages. The poet should realise what things are suitable for a particular dialect for the purpose of expression, and he should be thoroughly conversant with the nature of things and the medium through which it finds its best expression. Page. 49. 1. 3. a:=weighty or full because of many sub-divisions, ·196 EXPLANATORY NOTES Adhyaya. x. *[ll. 8-10. गृहितविद्योपविद्यः Cf. गृहीतविद्यः (वा. काम. सू. 1-4-1.) अभिधान- कोशः. of. अभिधानकोशः छन्दोज्ञानम्. Ibid. 1-3-16.] 11.8-10. For the other branches of Kavyavidya cf. लोको विद्या प्रकीर्णश्च काव्याङ्गानि (१) लोकवृत्तं लोकः (२) शब्दस्मृत्यभिधानकोशच्छन्दोविचितिकला- कामशास्त्रदण्डनीतिपूर्वा विद्याः ( ३ ) लक्ष्यज्ञत्वमभियोगो वृद्धसेवाऽवेक्षणं प्रतिभानमवधानं च प्रकीर्णकम् ॥ ११॥ वामनकाव्यालङ्कारसूत्र. 1-3. नामधातुपारायण is the same as शब्दस्मृति or grammar. The works of Bhāmaha, Dandin, Udbhta, Vamana, Ananda and Rudrata are meant by the word अलकारतन्त्रम् । Vāmana uses the word TTET (1-1-4 ) with reference to works dealing with poetics. These four Vidyās are the most important branches of knowledge for poets. The other branches required for them are enumerated by Rājasekhara in the eighth chapter of this work. Sixty four Kalās as mentioned by Vātsyāyana in his Kāmasūtra (1-3. 16 ) are here considered as Upavidyās. Vāmana includes Kalās anong the principal Vidyās. Another set of sixty four Kalās and 104 Upakalās enumerated by Gopendratippabhūpāla in his commentary on Vāmana's Sutra (1-3. 7) on the authority of Bhāmaha's Cf. कला:-नृत्तगीतादयश्चतुःषष्टिः। उपकलाश्चतुःशतम् । कलानामुद्देशः कृतो भाम- हेन-नृत्तं गीतं तथा वाद्यमालेख्यं मणिभूमिकाः । etc. Kamadhenu on Vamana's Sutra 1-3.7. This list of Kalās is similar to that of Vātsyāyana. The editions of the Kavyālaňkāra of Bhāmaha, as at present available, however, do not contain these verses. 1. 10. सुजनोपजीव्यकविसनिधिः=acquaintance with the" poet who is patronized by good men. For other equipments of a poet see Kavikanthabharana, sandhi-2. *[ll. 15-24. अपिच नित्यं शुचिः स्यात् etc. of. नागरकवृत्त(वा. काम. सू. 1-4.)] 11. 15-24. The duties and behaviour of a poet are enumerated in this chapter in the same way as the Nāgarakavịtta and Rājavștta have been described in the Kāmaśāstra (1-4) and Arthatāstra (1-19 ) respectively. verses. Page. 50. 1. 6. समागध। All MSS read समागध. It may be read as मागधभाषा- ·TENTH ADAYAYA 197 भिनिवेशिन्यः । The word HATUHI may be taken to mean a language along with the Māgadhi language. 1. 10. Bartag=overnights. 1. 14. atgasta=excepting the letter, which is the third of ऊष्म letters शषसह. 1. 15. Construe as परुषाक्षर and संयोगाक्षर. *[1. 17. कुन्तलेषु सातवाहनः Cf कर्तर्या कुन्तलः शातकर्णिः शातवाहनो (वा. काम. 7. 2. 7. 28). Cf. figur farzę3115 $75070245ūtot 1930. ] (Introduction of the Gāthāsaptas'ati). 1. 17. सातवाहन seems to be another name of हाल who is the author of the Ararat and ruled the Kuntala country. The compilation of this Mahārāștrī Prākrta Kośa itself stands as a proof of his love for that Prākṣta language. S'rīpālita was his court-poet and several Gāthās of his are incorporated in the Gātha- Kosa by Hāla S'ātavāhana. IIere the word JETHRT denotes Ertigtaran because the Kuntala country is included in Māhārastra, and also because the other two Prākštas Sauraseni and Māgadhī are already mentioned. Regarding the king Hāla and the poet S'ripālita see infra. *[ 1. 19. sya alofazi. केऽभूवन्नाढ्यराजस्य राज्ये प्राकृतभाषिणः । काले श्रीसाहसाकस्य के न संस्कृतवादिनः ।। E FOTIHTOT. II. 15 ]. however, several Vikramādityas in ancient times, and the word Vikramāditya being an epithet, the most powerful kings could always assume that title. There is a verse in the Gāthāsaptaśati (cir. 1st century A. D.) where the author mentions the name of a king Vikramāditya. of. संवाहणसुहरसतोसिएण देन्तेण तुह करे लक्खम् । चलणेण विकमाइत्तचरिअं अणुसिक्खियं तिस्सा ॥ (5. 64) Sāhasänka here seems to be the samo as Candragupta Vikramāditya II of the Gupta dynasty, who also assumed the title of Vikramāńka which appears on his coins. The name Sāhasāňka is further justified by the story of the Devīcandragupta and the Sanjan Copperplates where the daring actions of Çandragupta II are recorded. Rājasekhara makes it clear on cf. 1. 19. There were, ·198 EXPLANATORY NOTES p. 55-7 that Sahasāňka or Candragupta II was a patron of Sans. krit learning and encouraged men of letters. The fact that the king Sāhasāńka was also a poet will be evident by the following Verses: भासो रामिलसोमिलौ वररुचिः श्रीसाहसाङ्कः कविः etc. and शूरः शास्त्र विधेर्शाता साहसांकः स भूपतिः । सेव्यं सकललोकस्य विदधे गन्धमादनम् ॥ Sūktinuktāvali 4, 57, 111. *[ 1. 23. GAITEI 774:=well-cleaned walls or well rubbed plates. In ancient times they used to write as well as paint on walls. Brass plates are still being used by shop-keepers for writing daily accounts. ] ll. 21-25. Hagfalra box. सफलकखटिका=a piece of chalk fixed to a wooden piece. Fra box. All these materials are to be kept always near a poet as he is required to write down whatever verses he may compose mentally at any time. Yāyāvarīya thinks that the collection of materials mentioned above is not the real requisite for the composition of poetry as suggested by the Ācāryas, but the poetical genius or afar alone is its chief necessity. see Vāmana's sūtra afaceret प्रतिभानम्'। 1-3-16. 1. 26. fqiq=make himself equipped. 1, 27. qhI:=king or patron. Page. 51. 1. 2. Yāyāvarīya thinks that the above instructions of the Acāryas hold good in the case of poets who are not competent to compose in more than one dialect. 1.7. 7771913 27reft 1. 8. For the definition and boundaries of Madhyadeśa see page 94 of the Kāvyamīmāṁsā. 1. 13. pard=after the poet's demise. 1. 21. Eng=excellent in parts. This may be construed thus:-- rarefa arazi ailchra atentaardtai galagi af I 1. 23. Francie =those who make the best use of a favourable opportunity. This is not necessarily to be takeu as an adjective to परिव्राजाम् महीभुजाम् and मयःकवीनाम् ।

·TENTH ADHYAYA 199 1.25. The word सद्यःकवीनाम् may be taken as one word meaning आशुकवि. faa: etc. may be construed respectively with सुत etc. Page. 52. 1. 5. यदुदासीनः etc. Others can judge their actions better than the doers themselves. 1. 7. fagaa=fall into disorder or confusion. This has been explained in the passage खकाव्यबन्धन विनाशयत्यपि । 1. 12-28. Cf. Arthaśāstra 1-19 for the sub-divisions of the day and night and the routine of daily duties the king is required to follow. Also Kāmaśāstra. 1-4-16. For प्रश्नोत्तरभेदन ef. किं करोति कियत्कालं वेश्यावेश्मनि कामुकः। कीदृशं वदनं वीक्ष्य तस्याः कर्णायते क्षणम् ॥ (p. 57. of the Kāvyamīnāmsā ). Daņdin also introduces similar methods of getestar in the third chapter of his Kavyadarsa. In the 18th line read काव्यसमस्या, धारणा- मातृकाभ्यास instead of काव्यसमस्याधारणा, मातृकाभ्यासः । These two functions are included by Vātsyāyana as two distinct fine-arts or कलाs in the list of 64 Kalas ( काम-सू. 1-3-16). Jayamangala comments upon the word JOTATELEI as follows:- "धारणमातृकेति-श्रुतस्य ग्रन्थस्य धारणार्थ शास्त्रम् । यथोक्तम्- 'वस्तु कोशस्तथा द्रव्यं लक्षणं हेतुरेव च । इत्येते धारणादेव्याः पञ्चाङ्गरुचिरं वपुः ॥' इति ॥ In the list of Kalās quoted by Gopendrațippabhūpāla from Bhāmaha's work, this word ETT TOTIATZAT also occurs, ( see Vāmana 1-3-7) and the verse there should be real as: धारणामातृका यन्त्रमातृका काव्यलक्षणम् । instead of धोरणा मातृकायनं मातृकाकाव्यलक्षणम् । as printed there. For an explanation of 14wl see Jayamangala's commentary on Kāmaśāstra 1-3-16. चित्रा योगाः are those that are mentioned exhaustively by Dandin in the third chapter of his Kāvyādarśa, and by Rudrata in the fifth chapter of his Kāvyālankāra. Rājasekhara also proposes to treat this subject fat in the sixth Adhikaraṇa of his Kāvyamīmāṁsā. यावदार्ति स्त्रियमभिमन्येत। Here the word आर्ति denotes राग or इन्द्रियदौर्बल्य, - ·200 EXPLANATORY NOTES Rājasekhara instructs poets not to indulge in sexual excesses and advises them to have recourse to women only to remove their stră or mental weakness. Similar usage can be found in the Mahābhāşya of Patanjali (1-1-1) where the word' खेद is used instead of आर्ति. Cf. खेदात् स्त्रीषु प्रवृत्तिर्भवति । समानश्च खेद विगमो गम्यायां चागम्यायाश्च । The word as is explained by Kaiyața while commenting on the Mahābhāşya Paspaśānhika as below :- खेदादिति । खेदयतीति खेदः रागः । इन्द्रियनियमासामर्थ्य वा खेदः। 1.7. Page. 53. व्यवाय Sexual intercourse. *[ 1. 15. श्रूयन्ते दृश्यन्ते च ef. सन्त्यपि खलु शास्त्रप्रहतबुद्धयो गणिका राजपुत्र्यो महा- मात्रदुहितरश्च ( वा. काम. सू. 1-3-12 ). Read in the text महामात्रदुहितरो and शास्त्रप्रहतबुद्धयः. Rajasekhara ( quoted in the Saktimuktavali) praises four such poetesses. (1) शीलाभट्टारिका (2) विकटनितम्बा (3) विजयाता (4) प्रभुदेवी. शब्दार्थयोः समो गुम्फः पाञ्चाली रीतिरुच्यते। शीलाभट्टारिकावाचि बाणोक्तिषु च सा यदि ॥ के वैकटनितम्बेन गिरी गुंफेन रञ्जिताः । निन्दन्ति निजकान्तानां न मौरध्यमधुरं वचः ॥ सरस्वतीव कर्णारी विजयात्रा जयत्यसी । या वैदर्भगिरां वासः कालिदासादनन्तरम् ॥ सूक्तीनां स्मरकेलीनां कलानां च विलासभूः । प्रभुर्देवी कविाटी गतापि हृदि तिष्ठति ॥ also नीलोत्पलदलश्यामां विजकां तामजानता। वृथैव दण्डिनाप्युक्तं सर्वशुक्ला सरखती ॥1 11. 14–16. Avantisundarī, the wife of Rājaśckhara was a cultured lady, a poetess and a critic. Rājasekhara also introduces in his dramas many female characters who are adepts in composing verses in different dialects. The word दृश्यन्ते in addition to श्रूयन्ते clearly shows that ladies gifted with poetic skill and culture were found in abundance during Rajasekhara's life-time. In addition to four poetesses शीलाभट्टारिका, विकटनितम्बा, विजयाका, and प्रभुदेवी one more poetess gut also is praised by Rājasekhara in one of his verses quoted in the Sūktimuktavali p. 47: पार्थस्य मनसि स्थान लेभे लघु सुभद्रया । कवीनां च वचोवृत्तिचातुर्येण सुभद्रया ॥

·TENTH ADHYAYA 201 1. 17. 81Test:=copy. A poet should prepare several copies of his composition. 1. 25. Tei=a single string of pearls. Page. 54. 1. 3. For the definitions of gi, see notes on page 46, 1, 22. सत्रातः । The definitions of सङ्घात are given as:---- एकप्रघट्टकेनैव निबद्धो वाक्यविस्तरः । स संघातो भवेत् Bhāvaprakāśana. p. 151-16. and यत्र श्लोककृतो युक्तिसमुदायो रसान्वितः । एकप्रघट्टके सोऽयं सङ्घात इति कथ्यते ॥ Ibid. p. 282-20. Dandin mentions aga as a sub-division of place and his commentator Taruņavācaspati defines it as follows: सङ्घातः एकार्थविषयः एककर्तृकः पद्यसंघातः । शरत्संघातद्रविडसंघातादिवत् ॥ Kūvyādarśa. 1–13. Mahāprabandha has been defined by all earlier writers on poetics, but Abhinavagupta's definition, as given below, seems to be the best: महाकाव्यरूपः पुरुषार्थफलः समस्तवस्तुवर्णनाप्रबन्धः सर्गबन्धः संस्कृत एव ।। (Locana on 3, 7 of the Dhvani) *[ 1. 5. of EE391 ( A19 II. 73) 11. 5-6. This is a verse quoted from the second canto of the S'iśupālavadha where Uddhava gives counsel to Krşņa and differs from the views expressed by Baladeva. It It may also be suggested here, as Rājas'ekhara interprets, that Māgha, the author of the Kāvya, being proud of his composition or 9972, criticises in this verse the attempts of other poets in order to humiliate them. 11. 7-10. The fundamental principles of poetry are recorded here on the lines indicated by Vāmana. Vāmana thinks that Rītis, Guņas and Sūktimudrās only are the most important factors for the composition of poetry, but he does not consider the Alankāras to be so important. See Kävyālankārasūtra 3, 1, 1-3 and the verses quoted there :- ·202 EXPLANATORY NOTES युवतेरिव रूपमा काव्यं खदते शुद्धगुणं तदप्यतीव । विहितप्रणयं निरन्तराभिः सदलङ्कारविकल्पकल्पनाभिः ॥ यदि भवति वचच्युतं गुणेभ्यो वपुरिव यौवनवन्ध्यमङ्गनायाः । अपि जनदयितानि दुर्भगत्वं नियतमलङ्करणानि संश्रयन्ते ॥ Bhāmala and Daņdin consider both Guņa and Alankāra equally important in poetry. cf. 77 787aafa faring fra aftaigah 11 (Bhūmaha. 1–13.) काश्चिन्मार्गविभागार्थमुक्ताः प्रागप्यलक्रियाः । साधारणमलङ्कारजातमद्य प्रदर्श्यते ॥ ( Dandin. 2. 3) Bharata, Ānanda and Rudrața observe that a poet should principally make an attempt to develop the Rasas in his composition. Though Rājasekhara is acquainted with the views of these writers, he does not point out here the importance of Alankāra, Rasa and Dhvani in poetry, and his silence in this respect is due, very probably, to the fact that his professed object was to impart lessons on elementary matters in this verse, rather than to waste his time in scholastic discussions, 1. 11. Bf=word. Buttaqi=grammar. 1. 16. एकपत्नीम्रतम् | see काम. सू. 4-1 for एकचारिणीवृत्त. That Roft attends to the fast i. e. Dharma, Artha and Kāma of the husband. Sarasvati also does the same to a poet who follows the above mentioned methods. 1. 18, Construo as: - यस्याः (सिद्धेः) मूलच्छायां सः गिरां गुरुरपि न जानाति । 4FS13141=beauty of the foundation. 1. 21. 378fAnar uftfa:=with eight verandas or pavilions. It is also called कपोतपालिका and is defined as गजदन्तैः कृता शाला विझेया मत्तवारणी। 1. 22. LAT=bejewelled floor. l. 23. The word en denotes here a poet of sanskrit language by its secondary capacity or 758017. 1. 25. aflaar=the Vedas and their six Angas fui etc. 1. 26. Pramāņas are Mimāṁsā and Tarkas as described in the eighth chapter ( see page 36). The word fraf: here denotes those who are conversant with Ferts and Dharmaśāstras.

·TENTA ADHYAYA 209 *[1. 26. मौहुर्तिकाः f. मौहूर्तिकपौराणिकसूतमागधाः (अर्थशास्त्र. p. 245)]. 1. 26 अन्येऽपि तथाविधाः refers to specialists in मत्र and तन्त्र Sastras. *[1. 27. नटनर्तक. f. नटर्तकगायकवादकवाग्जीवनकुशीलवप्लवकसौभिकचारणानां सर्वतालावचराणाञ्च (अर्थशास्त्र. p. 125.) also नटनर्तकवादकवाग्जीवनकुशीलवाः Ibid. p. 48.] 1. 27. The word Prākştı also refers to poets in Prākſta language by its secondary capacity. नट-a professional actor. Nata is defined in the Bhavaprakāśana thus:- अतीतं लोकवृत्तान्तं रसभावसमन्वितम् । स्वभाववनाटयति यतस्तस्मान्नटः स्मृतः ॥ p. 288, 5-6. ada:=professional actor in the minor dramas such as Etat श्रीगदित etc. He performs नृत्त or नृत्य in these Uparupakas which are 18 or 20 in number. For detailed information regarding in and नृत्य and 20 minor kinds of dramas see Bhavaprakāsana chapters 7, 8 and 10. - Page. 55. 1. 1. वादनम्-instrumental music. It must be construcd with जीवन. Eftesa=singers behind a dancing girl when she dances, or singers in general. तालावचर-dancers. 1. 3. वैकटिकाः=jewellers. वर्धकि=carpenters. 1. 4. प्लवक=rope-dancers. शौभिक=juggler. मायावी. For जम्भकविद्या see Arthasāstra p. 245-16. जम्भक-magicians or *[ 1. 7. वासुदेव. There are two such names in ancient history: (1) Vāsudeva Kāņva, the Brāhmaṇa ininister of Devabhūti of the solar race, who usurped the throno mado vacant by the murder of Devabhūti and reigned about 73. B. C. (2) Vāsudeva I, the Kushān king who reigned from 140-178 A. D. सातवाहन, the author of गाथाकोश and the patron of poets. His गाथाकोश contains Gathās of many poets. For the derivation of the word, cf. सातेन यस्मादूढोऽभूत् तस्मात्तं सातवाहनम् । नाना चकार कालेन राज्ये चैनं न्यवेशयत् ॥ कथासरित्सागर.

·204 EXPLANATORY NOTES सातं दत्तमुखं वाहनमस्य सातवाहनः सालवाहनोऽपि । अभिधानचिन्तामणिटीका. III. 375. जगत्यां प्रथिता गाथा सातवाहनभूभुजा । व्यधुळूतेस्तु विस्तारमहो चित्रपरम्परा ॥ सूक्तिमुक्तावल्यां राजशेखरः । अविनाशिनमग्राम्यमकरोत्सातवाहनः । विशुद्धजातिभिः कोशं रत्नैरिव सुभाषितैः॥ हर्षचरित्र. 5. नमः श्रीहारवर्षाय येन हालादनन्तरम् । खकोषः कविकोषाणामाविर्भावाय सम्भृतः ॥ रामचरित. VI.93. हालेनोत्तमपूजया कविवृषः श्रीपालितो लालितः ख्याति कामपि कालिदासकवयो नीताः शकारातिना। श्रीहर्षी विततार गद्यकवये बाणाय वाणीफलं सद्यः सक्किययाऽभिनन्दमपि च श्रीहारवर्षोऽग्रहीत् ॥ Ibid XXII. 100. of. तत्थ वि। पालित्तयसालाहणछप्पण्णयसीहनायसद्देण । संखुद्धमुद्धसारङ्गाउ व्व कह ता पयं देमि ॥ निम्मलगुणेण गुणगुरुयएण परमत्थरयणसारेण । पालित्तयेण हालो हारेण व सहइ गोट्ठीसु ॥ चकायजुवलसुहया रंमत्तणरायहंसकयहरिसा । जस्स कुलपव्वयस्स व वियरइ गगा तरङ्गमई ॥ भणिय विलासवइत्तणचोकिल्ले जो करेइ हलिए वि । कव्वेण किं पउत्थे हाले हालावियारे च ॥ पणई हिं कइयणेण य भमरेहिं व जस्स जायपणएहिं। कमलायरो व्व कोसो विलुप्पमाणो वि हु न झीणो ॥ कुवलयमाला of इन्द्रसूरि (दाक्षिण्यचिह्नसूरि) 778 A. D. References to other old poets are also interesting. सयलकलागमनिलया सिक्खावियकवियणा सुमुहयंदा कमलासणा गुणड्डा सरस्सई जस्स वडकहा ॥ जे भारहरामायणदलियमहागिरिसुगम्ममग्गेण । लंघेइ दिसाकरिणो कइणो को वासवंमीए ॥ छप्पनयाण किं वा भन्नइ कयकुंजराण भुवर्णसि । अनो वि छयभणिओ अज वि उवमिजए जेहिं ॥ लावन्नवयणसुहया सुवन्नरयणुज्जला य बाणस्स। चन्द्रावीणस्स वणे जाया कायंबरी जस्स ॥ जारिसयं विमलको विमलं को तारिसं लहइ अत्थं । अमयमइयं व सरसं सरसं चिय पाइयं जस्स ॥ तिउरिसचरियपसिद्धो सुपुरिसचरिएण पायडो लोए । सो जय देवगुत्तो वंसे गुत्ताण रायरिसी ॥

·TENTH ADHYAYA 205 बुहयणसहस्सदइयं हरिवंसुष्पत्तिकारयं पढमम् । वंदामि वंदियं पि हु हरिवंसं चेय विमलपयम् ॥ सन्निहियजिणवरिंदा धम्मकहा बंधदिक्खियनरिंदा । कहिया जेण सुकहिया सुलोयणा समवसरणं वा ॥ सत्तूण जो जसहरो जसहरचरिएहिं जणवए पयडो । कलिमलपभंजणो चिय पहंजणो आसि रायरिसी ॥ जेहिं कए रमणिजे वरंगपउमाण चरियवित्थारे । कह व न सलाहणिजे ते कइणो जडियरविसेणो ॥ जो इच्छइ भवविरहं भवविरहंको न बंधए मुयणो । समयसयसत्थगुरुणो समरमियंका कहा जस्स ॥ साहसाङ्क is विक्रमादित्य. ] 1. 7. raataa Sātavāhana or S'alivāhana is a family name. Several princes belonging to the Āndhrabhrtya dynasty ruled the Mahārāştra country anıl bore the title of Sātavāhana. There are several literary traditions connected with the Sātavāhana kings who were recognized patrons of poets in Prākṣta languages, such as Paisāci, Mahārāştıī etc. The BỊhatkathā of Guņādhya, Kātantra grammar of Sarvavarınan, and Gāthāsaptaśati of Hāla- Sātavāhana, were composed under the patronage of Sātavāhana kings. For further information regarding the Sātavāhanas see Dr. R. G. Bhandarkar's "The Early history of the Deccan' and Vols. XVI and XVIII of the J.B. O, R. S. शूद्रक । Sudraka is well known as a king and the author of the drama Mrcchakatika. Several stories are recorded in the Brhatkathā whero S'ūdraka plays an important part. The शुदककथा or the biography of S'ūdraka has been written by two authors as and atacs conjointly. This fact is known only from a vei sc occurring in the Sūktimuktāvali, where it is attributed to Rājasekhara. This verse is given below: तो शुदककथाकारी रम्यौ रामिलसोमिली । काव्यं ययोर्द्वयोरासीदर्धनारीश्वरोपमम् ॥ Sūktimuktāvali. p. 43. One has is also mentioned by Kūlidāsa in his Mālavikāgnimitra along with Bhāsa and Kaviputra and very probably he may be the author of the शुद्रककथा । From the remark शूद्रकादिरचितेषु प्रबन्धेषु occurring in Vamana's Kavyalankārasātra-Vrtti (3-2-4,) it appears that S'ūdraka had composed several other works in ·206 EXPLANATORY NOTES addition to the Mșcchakațika. Kşirasvāmin in his commentary on the Amarakośa (2. 8. 2) quotes a set of anonymous verses where the word S'ūdraka is mentioned as the name of a Cakravarti king, who is identified with Agnimitra. The verse in question is as follows: विक्रमादित्यः साहसाङ्कः शकान्तकः । शूदकस्त्वग्निमित्रो वा हालः स्यात्सातवाहनः ॥ Now, it is well known that Agnimitra was the son of the S'unga conqueror Puşyamitra who flourished in the second century B. C. That S'ūdraka was a very noble and highly respected king liko Harșa and Udayana, is known from a reference found in the JIšdayangamā, a commentary on the Kūvyādarśa, (1-15) which runs as : सदाश्रयम्-हर्षशूद्रकोदयनादिसत्पुरुषाश्रयम् । The prologue of the Mrcchakatika mentions that S'ūdraka performed a horse-sacrifice or Aśvamedha, saw his son ruling the country and entered the fire after having lived for 100 years and ten days. The above leads us to infer that the hero of the Mālavikāgnimitra was probably identical with king S'ūdraka the author of the Mrcchakatika. The fact that Agnimitra also was a great poet and was as far-famed as Bhāsa and others, is borne out by Vākpatirāja in his verse: भासम्मि जलणमित्त कुन्तीदेवे अ जस्स रहुआरे । STEI-800. Here 793797 is no other than Agnimitra. The introduction of a Buddhist monk to save the life of Vasantasenā in the Mrcchakaţika, and the part played by Pandita Parivrājikā, presumably a Buddhist nun, as the adviser of queen Dhāriņi in the Mālavikāgnimitra, also show that during the reign of Agnimitra or S'ūdraka, Buddhism was held in high esteem. The following facts, mentioned in the prologue of the Mrochakatika, (1) द्विजमुख्यतम (2) ऋग्वेदं सामवेदम् (3) राजानं वीक्ष्य पुत्रं परमसमुदयेनाश्वमेधेन चेष्ट्वा लब्ध्वा चायुः शताब्दं दशदिनसहितं शब्दकोऽग्निं प्रविष्टः । tally in principal details with the historical facts known about the S'ungas. We know from history that Puşyamitra and his son Agnimitra were the Brahmins of the Sungagotra and belonged to the Sāma Veda, and that Puşyamitra performed an Aśvamedha sacrifice in order to assume the title of Cakravartin. It is worthy of note that the same facts are recorded in the Mșcchakatika. If the proposed identity of ·TENTH ADHYAYA 207 Agnimitra with Ş'ūdraka is accepted, it should be assumed that Agnimitra also had performed the Aśvamedha like his father, had seen his son Vasumitra rule the country and entered into the fire. The long age of 100 years and ten days attributed to Śūdraka, is also not improbable in the case of Agniinitra because according to the Mālavikāgninitra, he was only a governor of the southern provinces during his father's life-timo, and he had at that time a youthful son Vasumitra who was at the head of the army and had followed the sacrificial horse of his grand-father. Agnimitra, therefore, must have lived long enough to rule the country after the lengthy reign of Pușyamitra, and to sec his son Vasumitra installed after himself as king whose reign was for some time interrupted by the rule of one Vasujyeştlia probably Agnimitra's brother. Now the dato of composition of the Mrcchakatika also falls, according to the above stated evidences, somewhere in the beginning of the first century B. C. In this connection, it may be said that the tradition, attributing the verse लिम्पतीव तमोऽजानि वर्षतीवाजन नभः । found in the Myechakatika and quoted by Dandin in his Kävyādarśa to one Vikramāditya on thu authority of the Subhāṣitāvali and the Sūktimuktūvali, should not be taken as correct because S'ūdraka or Agnimitra is not known to have aggumed the title of Vikramaditya. 1. 11. 37956Testimulant. *[ 11. 19-25. Aug is hažor, author of the Ilayagrivavadha. Se Rājatarangini 3-26. Verses from this poem are quoted in the present work. वक्रोक्त्या मेण्ठराजस्य वहन्त्या सृणिरूपताम् । आविद्धा इव धुन्वन्ति मूर्धानं कविकुञ्जराः ॥ राजशेखरः सूक्तिमुक्तावल्याम् । स कश्चिदालेख्यकरः कवित्वे प्रसिद्धनामा भुवि भर्तृमेण्ठः । रसप्लवेऽपि स्फुरति प्रकामं वर्णषु यस्योज्वलता तथैव ॥ उदयसुन्दरी ॥ Rājasekhara calls himself an incarnation of watos. qua a###12: gti la Edat: 972 ufa aðgala i स्थितः पुनर्यो भवभूतिरेखया स वर्तते सम्प्रति राजशेखरः ॥ बालरामायण. I. 1G. u may be there the Buddhist poet. of. also सुबन्धौ भक्तिर्नः क इह रघुकारे न रमते धृतिर्दाक्षीपुत्रे हरति हरचन्द्रोऽपि हृदयम् ।

·208 EXPLANATORY NOTES : विशुद्धोक्तिः शूरः प्रकृतिमधुरा भारविगिर- स्तथाप्यन्तर्मोदं कमपि भवभूतिर्वितनुते ॥ हरिचन्द्र पदबन्धोज्वलो हारी कृतवर्णक्रमस्थितिः । भधारहरिचन्द्रस्य गद्यबन्धो नृपायते ॥ हर्षचरित्र I. 4. For वर्ष, उपवर्ष, पाणिनि, व्याडि and वररुचि, see कथासरित्सागर and बृहत्कथा. मञ्जरी-कथापीठलम्बक I. For the controversy between पाणिनि and वररुचि, see कथासरित्सागर कथापीठलम्बक IV. 20-25, and बृहत्कथामजरी कथापीठ II. 71-74. For सभापति ef. लक्ष्मीभुजो भुषि सभापतयः क नाम सन्तीह सम्प्रति गुणेष्वनुरागवन्तः । ये हि प्रलीनखलरोलभराः सुखेन शृण्वन्ति संसदि कवीन्द्रसुभाषितानि ॥ श्रीविक्रमो नृपतिरत्र पतिः सभानामासीत्स कोऽप्यसदृशः कविमित्रनामा । यो वार्थमात्रमुदितः कृतिनां गृहेषु दत्त्वा चकार करटीन्दुघटान्धकारम् ॥ हाले गते गुणिनि शोकभराद्वभूवुरुच्छिन्नवाङ्मयजडाः कृतिनस्तथामी । यत्तस्य नाम नृपतेरनिशं स्मरन्तो हेत्यक्षरं प्रथममेव परं विदन्ति ॥ श्रीहर्ष इत्यवनिवर्तिषु पार्थिवेषु नाम्नैव केवलमजायत वस्तुतस्तु । गीहर्ष एष निजसंसदि येन राज्ञा सम्पूजितः कनककोटिशतेन बाणः ॥ सृष्टं तदत्र युवराजनरेश्वरेण यदुष्करं किमपि येन गिरः श्रियश्च । प्रत्यायनं स्फुटमकारि निजे कवीन्द्रमेकासने समुपवेशयताभिनन्दम् ॥ उदयसुन्दरी-प्रथमोच्छासः] 1. 20. चन्द्रगुप्ती. Who is this Candragupta? Is he a different poet from Candragupta II of the Gupta dynasty or is he the same as Candragupta himself? We know that Candragupta bore the epithet of Sāhasānka and there is one Sāhasāńka who is also described as a poet in the verse- भासो रामिलसोमिली वररुचिः श्रीसाहसांकः कविः etc. Sūktimuktāvali. It seems probable, therefore, that Candragupta of this verse may refer to the same Sahasāňka who is to be identified with Candragupta II of the Gupta dynasty. विशाला=Ujjayini. 1.22. Here the names 3998 etc. seem to have been arranged in a strictly chronological order, because otherwise, according to the rules of Panini : अल्पान्तरम् , the word वर्ष must precede उपवर्ष in the compound द्वंद्व. उपवर्ष is known as the earliest commentator on the Mimāsāsūtras of Jaimini and Bādarāyaņa. Varşa is mentioned ·ELEVENTH ADHYAYA 209 as the teacher of Pāṇini in the Kathāsaritsāgara. Pāṇini and Pingala are the Sūtrakāras on granımar and prosody. Vyādi is the author of a work called "Sangraha” which is quoted by Patañjali and Bhartphari. cf. net opilgat tegit Try glat sfare: (Nägeśa's Uddyota on Mahābhāşya Kaiyața 1-1-1). Adhyāya XI. Page. 56. Rājasekhara deals in the following three chapters with the subject of TOTTUTTOT or plagiarism of both words and ideas. It is interesting to note that no author before Rājasekhara had dealt this subject with such a wealth of detail as is done here. Only Vámana and Anandavardhana touched this subject and warned the poets to be very careful in ridding themselves of this pernicious practice. It is, therefore, difficult to discover the source of Rājasekhara's information. Among later writers, Kșemendra treats of this subject in his Kavikaạthābharaṇa with different details, while Hemacandra incorporates all these three chapters in his commentary on the Kāvyānuśāsana. (pp. 8–10.) 1. 4. Examples of plagiarism in respect of 19 or metre and 574 or lengthy poom are not cited in this connection. The view attributed here to the Ācāryas, is traceable in Anandavardhana's work as well as in the commentary thereon. Cf. अक्षरादिरचनेव योज्यते यत्र वस्तुरचना पुरातनी । नूतने स्फुरति काव्यवस्तुनि व्यक्तमेव खलु सा न दुष्यति ॥ Dhvanyāloka 4-15. But Rājasekhara differs from him on certain points. *[Borrowed in the काव्यानुशासनविवेक. Cf. छायोपजीवी पदकोपजीवी पादोपजीवी सकलोपजीवी । भवेदथ प्राप्तकवित्वजीवी स्वोन्मेषतो वा भुवनोपजीव्यः । संधि II. दूराकृष्ट is quoted in कविकण्ठाभरण by Ksemendra.] 11. 7-12. Here the words Argan and train having two meanings are plagiarised in the second verse At TT: 9779 etc. Il 13–19. An example of borrowing of a part of a apei word in the same sense is given in these two verses. The second line कविकण्ठाभरण, ३७ ·210 EXPLANATORY NOTES of the first verse has two meanings. The first is: how one who favours low class people can make use of me. The second is : how one without hunger can make use of the mutton. These two meanings are made possible from the combination of the word मां and the letter सो (मांसोपयोगम्-मां सोपयोगम् । क्षुत् रहितः क्षुद्रहितः।). From this combination, a part ni is borrowed by another poet in the next verse and combined with ace to express the identical meanings as shown above (मांसरसम्-मां सरसम् ।). 11. 20-27. Here the word Rattatah has two meanings : (1) 'repelled' and (2) ʻunlimited spreading'. These two senses are expressed with reference to (1) the army of the Asuras and 2) the faine of Baladeva. The word is in the first line may be read as an and the words sigt and 37TRTIATE Ech may be connected with that as adjective. The same word frauftag and the two other words 87Fs and age which also have two meanings owing to go with reference to the army and fame in the first verso, arc borrowed in the next verse which forms an example of यमक and expresses the same sense. Page. 57. 11. 1-4. Here the word uitgah is free and as such this line bears the following two ineanings: (1) tho crowd of paramours is behaving for the moment in the same Karņa and (2) the face of the lady has eyes long up to her ears. The same word niza 2017 is borrowed in the next verse to supply an answer to the threc questions put forth in the same The first two questions are "what does the paramour do in the house of a prostitute and for what time ?" The answer is : क्षणम्. He acts as Karņa and for a moment. The third question is "what kind of face he looked at?" The answer is nizam i. e. the eyes of which are long enough to reach the ears. *[ 1. 6. aterat 7 are caſa gata etc. occurs as the first verse in वृन्दावनयमककाव्य of मानाङ्क. 1. 8. चक्रं दहतारम् (रुद्रटकाव्यालङ्कार. III. 4.)]. 11. 5-10. Rājasekhara's suggestion that Rudrata in his verse * Earth etc. borrowed words from the Mānāňka's verse PGTE WAT er etc, makes it probable that the poet Mānāňka the author of the Vịndāvanayamakakāvya (printed in the Kāvyasangraha by Jivānanda Vidyāsāgara ) flourished before Rudrata (cir. 850-900). manner as verse. कर्णायते, ·ELEVENTH ADAYAYA 211 भारअरिसंबन्धि ! अरशीघ्रम् । The prose order of this line may be like this राजन् आजी आरं चक्रं अरं दहता तव खड्रेन हता अरिनारी चक्रन्द ॥ *[ 11. 12-13. fast fat and it hat. Both the Mss have the Parasmaipada while the correct form should be विशीर्यते and शीर्यते । The Mss of the Kāvyānuśāsanaviveka have the Ātmanepada.] 11. 11-19, From the passages नन्विदमुपदेश्यमेव न भवति etc., it appears that in the opinion of Avantisundarī, plagiarisms from earlier authors of higher reputation were considered as much greater offence than ordinary thefts. But she permitted borrowings from inferior authors by those who are superiar in reputation, etc. *[ 1. 21. स पातु वो यस्य जटाकलापे quoted in सुभाषितावलि (No. 63. कस्यापि). 1. 25. स पातु वो यस्य हतावशेषाः attributed to Candraka in सुभाषितावलि (No. 30); also quoted in the commentary of tq727/9* II. 6. 11. 20–28. Acāryas think that the borrowing of more than three free words in sequence is to be considered as plagiarisnı, An illustration of this is : 910 at en borrowed in the second verso where all the four words occur in the same order as in the first. The two words, in the first verse, show the ar1219al in this verse. This figuro is defined by Dandin as एकानेकेवशब्दत्वात्सा वाक्यार्थोपमा द्विधा. Kāvyādarśa, 2-43. Cf. शरैरुनरिवोदीच्यानुद्धरिष्यन् रसानिव । Raghu. 4-66. ; با Page, 58. *[ 1. 3. 47919faaaaaa (fferat. III. 10).] 11, 1-14. Rājasekhara disagrees with the Acāryas on this point and thinks that any word used in a special expression in an earlier poem, should not be borrowed by later poets; even a pāda or one fourth of a metre consisting of one or two words which can be readily recognized as the compositionof an earlier writer, should be considered as an instance of plagiarisın. Fywaargfaaaa 977 occurring in these two verses, is an example of the second kind, while *T&Titreante is an instance of the first kind. Here, the figure of ·212 EXPLANATORY NOTES speech known as 69% applies to both 16 and there which have several adjectives each with two meanings. This is the special feature of a particular poet. The same idea finds expression in the work of a later poet in the second verse, though only one word 78Tirê is borrowed from the former verse. The reading angefangia: as found in the A and B MSS, however, gives quite a different meaning, and this is almost diametrically opposite to the meaning given above. According to this the sentence should be construed as: अप्रत्यभिज्ञायातः पादोऽपि न परिहरणीयः । तस्यापि साम्ये म किश्चन दुहं स्यात् । That being the case, the pāda styttant etc, is not to be considered as an instance of actual borrowing. The reading of the C. MS, is adopted here because of the context in which Rāja. sekhara particularly refutes the view of the Ācāryas who maintain that for the purposes of plagiarism the number of words should be more than three. It may be noted here that the pāda art ctc. has only three words and according to the Ācāryas this is not an example of plagiarism. But Rājasekhara thinks that this also is to be avoided. 11. 15–25. Here also Rājasekhara rejects the view held by the Acāryas. The line may be construed as अन्यथात्वकरणकारणं पाद: नैव हरणम् । अपि तु खीकरणम् । The same pada त्यागो हि सर्वव्यसनानि हन्ति used in the first verse in praise of an is quoted in the next verse in order to denounco it. The verse त्यागो हि सर्वव्यसनानि हन्तीत्यलीकमेतत्. etc is attributed to S'üdraka in the Subhāşitāvali but it cannot be traced to his Mșcchakatika. The Acāryas hold that this is not an example of plagiarism, but only an adaptation of a pāda from an earlier verse by a later writer. Rājasekhara's' view is that such adaptations without acknowledgment also are to be avoided. Page. 59. 11. 1-6. Rājasekhara exemplifies here another instance of plagiarism. Here, out of the two halves of the verse, the first half UC 7777 eto, is taken over bodily and the second is changed by a later writer. Atqni=a line connecting the scrotum and anus. *[I. 8. तत्तावदेव attributed to प्रकाशदत्त । 1, 17. apud Aeta, Subhāṣitāvali fNo. 555). ] ·ELEVENTE ADHYATA 213 1. 16-23. These are instances where later writers have borrowed the same verse composed by earlier authors after changing only one pāda which may either be the 3rd or 4th. This also comes under the list of borrowings. The verse अरण्ये निर्जने etc. is quoted from the Naradasmrti, 2. 30. For साहस. f. सहसा क्रियते कर्म यत्किञ्चिद्बलदर्पितैः । तत्साहसमिति प्रोक्तं सहो बलमिहोच्यते ॥ मनुष्यमारणं स्वयं परदाराभिमर्शनम् । पारुष्यं द्विविधं ज्ञेयं साहसं च चतुर्विधम् ॥ Nāradasmrti. 14, 1-2. Page. 60. *[ 1. 9. कुमुदवनमपश्रि. (माघ. XI. 64 ). ] ]]. 1-16. In striking contrast to the above citations of plagiarisms, Rājasekhara treats of here ono peculiar case which he considers as original even though there is promiscuous borrowing. In the fourth verse, three pādas are taken froin three different verses mentioned above and are connected with one pāda which alone is composed by the author. *[ 1. 18. या व्यापारवती. ध्वन्यालोक III. आनन्दवर्धन says that the verse is his own. For अन्यथाकरण of पद and पाद, cf. अपरे पुनः पठितिमन्यथा कथयन्ति ॥ पदपादार्धभाषाणामन्यथाकरणेन यः । पाठः पूर्वोक्तसूक्तस्य पठिति तां प्रचक्षते ॥ तत्र पदान्यथाकरणं द्विधा-प्रकृतितो विभक्तितश्च ॥ तत्र प्रकृतितो यथा- असकलहसितत्वात् क्षालितानीव कान्त्या मुकुलितनयनत्वायतकोत्पलानि । पिबतु(ति)मधुसुगन्धीन्याननानि प्रियाणां त्वयि विनिहितभारः कुन्तलानामधीशः ॥ भत्र त्वयीत्यस्य स्थाने यदा मयीति पठ्यते तदैतत्प्रार्थनावाक्यमपि अनुमतिवाक्यं भवति । पादान्यपाकरणस्वेन यथा,- एकान्ते विजने रात्रावन्तर्वेश्मनि साहसे। न्यासापहवने चैव दिव्या सम्भवति क्रिया ॥

·214 EXPLANATORY NOTES अत्र यदा तृतीयपादस्थाने तन्वी यदि लभ्येतेति पाठो भवति तदैतत् परीक्षौपयिकमपि कामीपयिकं भवति ॥ अर्धान्यथाकरणेन यथा,- तत्तावदेव शशिनः स्फुरितं गरीयो यावन तिग्मरुचिमण्डलमभ्युदेति । अभ्युद्यते सकलधामनिधौ तु तस्मिन् इन्दोः सिताभ्रशकलस्य च को विशेषः ॥ अत्र यदा मध्यमपादयोः स्थाने “यावन्न ताः किमपि गौरतरा हसन्ति । ताभिः पुनर्विहसिता. ननपहजाभिः" इति पठ्यते तदैतद्धीरार्थोक्तिरूपमपि शृङ्गारोक्तिरूपं सम्पद्यते ॥ पादत्रयान्यथाकरणेन यथा,- त्यागेन युक्ता दिवमुत्पतन्ति त्यागेन हीना नरकं व्रजन्ति । न त्यागिनां दुष्करमस्ति किश्चित् त्यागो हि सर्वव्यसनानि हन्ति । अत्र यदा तुरीयपादमेवादाय पादत्रयान्यथाकरणेन वक्ष्यमाणः पाठो भवति, तदैतत्त्याग- प्रशंसार्थमपि त्यागनिन्दार्थमपि जायते । तद्यथा- त्यागो हि सर्वव्यसनानि हन्तीत्यलीकमेतद्भुवि संप्रतीतम् । जातानि सर्वव्यसनानि तस्यास्त्यागेन मे मुग्धविलोचनायाः ॥ सरखतीकण्ठाभरण pp. 80 and 81. 11. 17-23. In this veise, another instance of boriowing is illustrated. Here a later writer, makes an attempt to pass off the composition of an earlier author as his own by the substitution of a few words in one pāda. For the explanation of the verse ar व्यापारवती etc, see Locana. p. 227 on Dhvanyaloka. 1. 24. The instance of large scale borrowing of a whole verse belonging to another writer, with slight changes only in parts of the words, is illustrated here. Page. 61. 11.1-4. The example cited here has an interesting historical background. It appears from this that the great poet Kālidāsa acted as an ambassador of his patron, king Vikramāditya, who may be identified with king Candragupta II of the Gupta dynasty. It also appears probable that Vikramāditya sent Kālidāsa to the court of the king of the Kuntala country as an ambassador. It is also probable that Kālidāsa on bis return from the Kuntala king composed a poem recording all the events connected with his mission. This work is known as कुन्तलेश्वरदीव्यम्, ·ELEVENTH ADHYAYA 215 and only three verses from this work are now available. The two verses असकलहसितत्वात् etc. are cited here as an example of पदैकदेशोपलक्षण, and a third is quoted by Kşemendra in his Aucityavicāracarca and these three belong to the work of Kālidasa's Kuntalesvaradautya. The conclusions drawn from an analysis of the three verses in question, are given above and the verses are quoted below for ready reference, from the Slưngāraprakāśa of Bhojadeva and the Aucityavicaracarcă of Kșemendra, along with explanatory notes as found in the respective works, 'अथ नैयायिकी-यत्र पूर्वोक्तमेव वाक्यमर्थान्तरे वक्रतरादिभिरूहयित्वा निवेश्यते तामूहनैयायि- कीमामनन्ति । तद्यथा-कालिदासः 'किं कुन्तलेश्वरः करोति' इति विक्रमादित्येन पृष्टः उक्तवान्- असकलहसितत्वात् क्षालितानीव कान्या मुकुलितनयनत्वाद्यक्तकोत्पलानि । पिबति मधुसुगन्धीन्याननानि प्रियाणां त्वयि विनिहितभारः कुन्तलानामधीशः ॥ इदमेवोहयित्वा विक्रमादित्यः प्रत्युवाच । पिबति(तु)मधु सुगन्धीन्याननानि प्रियाणां मयि विनिहितभारः कुन्तलानामधीशः ॥ शृङ्गारप्रकाश.प्र.८ The conversation as quoted above, between Vikramāditya and Kālidāsa regarding the attitude of Kuntaleśvara appears to have been recorded in the work Kuntaleśvaradautya of Kālidāsa from which Bhojadeva seems to have quoted in order to illustrate the ऊहनैयायिकी. This is further supported by a verse quoted from the same work and the explanations thereon given by Kşemendra, The passage runs thus: अधिकरणौचित्यं यथा-कुन्तलेश्वरदौत्ये कालिदासः- इह निवसति मेहः शेखरः क्षमाधराणां इह विनिहितभाराः सागराः सप्त चान्ये । इदमहिपतिभोगस्तंभविभ्राज्यमानं धरणितलमिहैव स्थानमस्मद्विधानाम् ॥ अत्र महाराजदूतोऽपि सामन्तास्थाने स्वप्रभुसमुचितगौरवपूजार्हमासनमनासाद्य कार्यवशेन भूमावेवोपविष्टः प्रागल्भ्यगांभीर्येणैवं ब्रूते-यथाऽस्मद्विधानां वसुधातल एव भुजगपतिभोगस्तंभप्राग्भार- निष्कम्पे धरासने स्थानं युक्तम् । यस्मादिहैव मेरुरचलचक्रवर्ती समुपविष्टः । सप्तमहाब्धयश्च । तत्तुल्य- तैवास्माकमिति औचित्यमधिकरणपदसंबद्धमेव. p. 139. From this statement of Ksemendra : महाराजदूतोपि सामन्तास्थाने खप्रभुसमुचितगौरवपूजाईमासनमनासाद्य कार्यवशेन भूमावेवोपविष्टः etc. it may be sur.

·216 EXPLANATORY NOTI8 mised that Kuntalesvara had secret hostility against his sovereign kiog Vikramaditya and that Vikramāditya had sent Kalidasa, his ambassador, to Kuntaleśvara to remove that hostility by establishing new bonds of friendship. Kālidasa became successful in his mission, and made Kuntaleśvara faithful to his overlord king Vikramāditya. This fact, Kālidāsa conveys to his patron through the stanza: 87 clearala etc. as stated by Bhoja in the above quotation. The approval: fag Aygrarmara sarai eto, expressed by Vikramāditya with reference to the request conveyed through Kālidāsa by Kuntaleśvara, shows that Vikrama had established friendly connections with Kuntaleśvara. Now the question arises as to who this Kuntaleśvara is. From the History of the Vākāțaka Empire (cir. A. D. 284- 550) as given by Mr. K. P. Jayaswal in J, B. O. R. S. vol. XIX. I. II., it may be surmised that Pșthvisena I (cir. 348–375 A. D.), who subjugated the king of Kuntala or the Karņāțaka country and the Kadamba kingdom, was hostile to the Gupta kings, because Samudragupta defeated and killed his father Vākāțaka Rudrasena I or Rudradeva I (cir. 344-348 A. D.) who was the reigning sovereign. Samudragupta, however, later re-instated Pịthvīsena on the vacant throne of his father, as one of the wa kings under the Gupta sovereignty. During the reign of Candragupta II, this Vākāțaka king Pșthvisena'gained much power due to his victory over the Kuntala country and the Kadambas. Candragupta who initiated a policy of political marriages with families of subjugated kings, wanted, at that time, to remove the hostile feeling and establish friendship with the Vākāțaka prince Přthvisena. This idea, very probably, prompted Candragupta to send Kālidāsa as an ambassador to the court of the Vākāțaka king Pșthvīsena who was then called Kuntaleśa also due to his victory over the the Kuntala country. We have, however, another testimony for this Gupta Vākāțaka relation. Prabhāvati-guptā, the daughter of Candragupta II through the Nāga princess Kubera Nāga, was given in marriage to Vākāțaka Rudrasena II, (cir. 375-395) the son of Pșth visena I, and her son was Pravarasena II (cir. 405– 435) To this Pravarasena is attributed the Setubandha Kavya which is generally believed to have been composed by Kalidāsa on behalf of Pravarasena at the request of his patron Vikramaditya Candragupta, the grand-father of Pravarasena II of the Vakataka dynasty.

·ELEVENTH ADHYAYA 217 It may be remembered here that the Rămasetupradīpa, tho commentary on the Setubandha, records an interesting fact in this connection that Kālidāsa composed the Setubandha-Kāvya at the request of Vikramāditya, but published the same under the name of king Pravarasena. The relevent passages from the commentary are quoted below: धीराणां काव्यचर्चाचतुरिमविधये विक्रमादित्यवाचा यं चक्रे कालिदासः कविकुमुदविधुः सेतुनामप्रबन्धम् । etc. इह तावन्महाराजप्रवरसेननिमित्तं महाराजाधिराजविक्रमादित्येनाज्ञप्तः निखिलकविचक- चूडामपिः कालिदासमहाशयः सेतुबन्धप्रबन्धं चिकीर्षुः etc. These passages make it abundantly clear that these three persons : Vikramāditya, Kālidāsa and Pravarasena were intimately connected and had some hand in the composition of the Setubandha, It may be suggested here that Kuntaleśvara, mentioned in the verse: 31*1#icelaneanetc. and referred to by Bhoja and Kşemendra in their works, must be no other than king Pșthvisena I, of the Vākāțaka dynasty. Pravarasena, to whom the Setubandha Kāvya is generally attributed, is his grand-son being the son of Rudrasena II und Prabhāvatīguptā, the daughter of Candragupta II. It may be remembered in this connection that both Dandin (Kavyādaría, 1-34) and Hemacandra ( Book VIII. Grammar) consider the stylo of the Setubandha as the best available in the Mahārāştri dialect. These two references, also prove that among the two Pravarasenas of Kashmir none can be the author of this Setubandha because being Kasbmirians they are not expected to writo excellently in the Mahārāştri dialect. Another reason for not considering any of the two Pſavarasenas of Kashmir as the author of the Setubandha, is that they are not contemporaries of either Vikrama or Kālidāsa since they ruled over Kashinir in the first and second centuries A. D. according to the Rājatarangiņi. The Kuntala country being a part of Mahārāştra, the authorship of the Setubandha тау well be attributed to the Vākițaka Pravarasena II, who ruled over this part of the Mahārāştra country in the beginning of the fifth century A. D, as suggested by Mr. K. P. Jayaswal in his . History of India cir. 150 to 350 A. D.' (J.B.O. R. S. vol. XIX 1933. Pt. I. II.); and General Cunningham (Archaeological Reports Vol. XI. p. 123), and confirmed by Dr. G. Bühler (Indian Antiquary Vol. XII. p. 239). In this case, Pravarasena II of the Vākāțaka dynasty who ruled over a tract ·218 EXPLANATORY NOTRS of land to the south of the Narmadā becomes .a junior contemporary of Candragupta Vikramāditya who belonged to the same period, and in whose court poet Kālidāsa flourished as is commonly supposed. Another support for this suggestion regarding the authorship of the Setubandha comes from the Bharatacaritakāvya of Krşņakavi in which the Setubandha is attributed to the king of Kuntala. The verse in question is: जलाशयस्यान्तरगाढमार्गमलब्धबन्धं गिरिचौर्यवृत्या। लोकेष्वलंकान्तमपूर्वसेतुं बबन्ध कीर्त्या सह कुन्तलेशः॥ Trivandrum Series No. 86 (1.4) Under these circumstances, it is possiblo that Pravarasena II ruled over the two countries Vidarbha and Kuntala in the beginning of the fifth century A. D. The verse : असकलहसितत्वात् etc., the original of Kalidasa is borrowed with slight modifications in two words foafat and cafe as foag and ART by Vikramāditya in order to provide an answer to the request of Kuntaleśvara conveyed through Kālidāsa. *[ 1. 6. सुश्रु त्वं कुपिते. attributed to विद्यापति. Cf. खरेण (पठितिः) यथा सुभूः etc. अत्र दृष्टे इत्यत्र लुतखरकरणात् कुपितकान्ताप्रसादनपरमपीदं वाक्यमुत्कुपितदृष्टि- प्रसादनपरता प्रतिपद्यते । सरस्वतीकण्ठाभरण. II] ll. 23-26. Cf. सन्ति श्वान इवासंख्या जातिभाजो गृहे गृहे । उत्पादका न बहवः कवयः शरभा इव ॥ अन्यवर्णपरावृत्त्या बन्धचिहनिगृहनैः । अनाख्यातः सतां मध्ये कविश्चौरो विभाज्यते ॥ Harsacarita 1. 6-7, Adhyaya XII. Page. 62. *[1. 10 वाक्पतिराज the author of the Gaudavadha. of. दृष्ट्वा वाक्पतिराजस्य शक्ति गौडवधोद्धराम् । बुद्धिः साध्वसरुद्धव वाचं न प्रतिपद्यते ॥ तिलकमलरी.31. सामन्तजन्माऽपि कवीश्वराणां महत्तमो वाक्पतिराजसूरिः । यः स्थापयाप्यन्यमपीडयच्छनुत्पादयत्यर्थमनन्यदृष्टम् ॥ (१) उदयन्दरी ॥]

·TWELFTH ADAYAYA 219 11. 9-12. The views of the Acāryas and Vākpatirāja, as stated here, are found in the work Gaudavaho of Vākpatirāja. Cf. कालगुणा पढमकई हिं भमिअमपरिग्गहेसु मग्गेसु । इहरा मईहिं हीरन्ति दुकर के वि काणंपि ॥ कत्तो णाम न इ8 सच्चं कविसे विएसु मग्गेसु । सीमन्ते उण मुक्कम्मि तम्मि सव्वं नवं चेअ ॥ अत्थालोअणतरला इअरकईणं भमन्ति बुद्धीओ। अस्थम निरारंभमेन्ति हिअअं कइन्दाणम् ॥ भासंसार कइपुंगवेहि तद्दिअहगहिअसारो वि । अज वि अभिण्णमुदो व्व अअइ वाआपरिप्फन्दो॥ Gaudavaho-84-87. Here, it may be noted that the last verse of Vākpatiraja entert etc. has been sanskritized by Rājasekhara with a few changes and quoted under his name. 11. 13-16. The views of some thinkers regarding the necessity of a careful study of the early poetical works on the part of a poet, are to be linked with the view of the Acāryas on the point, and not with that of Vākpatirāja above stated. 11. 17-24. Rajasekhara disagrees with the views of the other thinkers on this subject. The explanation given by him is more or less based on the statement made by Vākpatirāja on the same subject in verses 88-92 of his Gaudavaho. The views expressed by Vākpatirāja and quoted by Rājasekhara are already mentioned by Anandavardhana in his Dhvanyāloka. Cf. वाचस्पतिसहस्राणां सहस्रैरपि यत्नतः । निवद्धाऽपि क्षयं नैति प्रकृतिर्जगतामिव ।। इयं काव्यस्थितिरनन्ताभिः कविमतिभिरुपभुक्ताऽपि नेदानी परिहीयते । प्रत्युत नवनवाभियु- त्पत्तिभिः परिवर्धते । and संवादास्तु भवन्त्येव बाहुल्येम सुमेधसाम् । स्थितं तत् । संवादिन्यो मेधाविनां बुद्धयः । नैकरूपतया सर्वे ते मन्तव्या विपश्चिता ।। 4,10-11 The statement agre: etc. quoted by Rājasekhara is traceable in the work of Anandavardhana with the same context:

·220 EXPLANATORY NOTES Cf. सदित्थं स्थिते- प्रतायन्ता वाचो निमित विविधार्थामृतरसा न वादः कर्तव्यः कविभिरनवद्ये स्वविषये । परखादानेच्छाविरतमनसो वस्तु सुकवेः सरस्वत्येवैषा घटयति यथेष्टं भगवती ॥ Dhvani. 4. 17. Page. 63. *[ll. 2-5. The portion dealing with प्रतिबिम्बकल्प, आलेख्यप्रख्य, तुल्य- देहितुल्य and परपुरप्रवेशसदृश is borrowed by Hemacandra. cf. also अर्थो द्विविधोऽयोनिरन्यच्छायायोनिश्च । (वामन. III. 2-7.) अयोनिः अकारणः अवधानमात्र- कारण इत्यर्थः । अन्यस्य काव्यस्य च्छाया अन्यच्छाया तद्योनिः । Read एकादृश । ] 11. 2-5. Rājasekhara approves of all the above mentioned views as correct. Vāmana seems to have analyzed step in poetry for the first time, and discovered that there are three distinct divisions of it. Cf. अर्थो द्विविधोऽयोनिरन्यच्छायायोनिश्च । व्यक्तः सूक्ष्मश्च । सूक्ष्मो भाव्यो वासनीयश्च । Kavyālankirasātra III. 2, 7-9. Anandavardhana, further developed this idea of three divisions of Artha and, therefore, his is a definite improvement on the older theory. This is found in the Dhvanyaloka 4-12. Cf. संवादो ह्यन्यसादृश्यं तत्पुनः प्रतिबिबवत् । आलेख्यप्रख्यवत्तुल्यदेहिवञ्च शरीरिणाम् ॥ Taking advantage of the already existing theories, Rājasekhara develops upon them, puts the whole on a more scientific basis, and illustrates his points by a number of verses in these two chapters. The word gepoftcafe also shows that Rājasekhara here alludes to the views of some earlier writers on this subject. The examples of निन्हुतयोनि and परपुरप्रवेशसदृश are an improvement on Vamana and Anandavardhana. The word एकादश may be read as एकाहत as अयोनि is used by only one author. Hemacandra incorporated all these four divisions as recorded by Rājasekhara along with their definitions and illustrations in his Kāvyānusāsanaviveka. p. 8. II. 7-14. प्रतिबिंबकल्पार्थ is defined by Anandavardhana as अनन्यात्म and explained by him as तात्त्विकशरीरशून्यम् । see. Dhvani 4-13. The ·TWELFTH ADAYAYA 221 same definition is given here in this verse by Rajasekhara as 849 Chella #CH. It is worthy of note here that the two verses cited here as examples will express identical meaning in case the reading in the second verse is changed as चन्द्रामृतांबु instead of गलद्गगांबु । 11. 15-19. Anandavardhana defines this division as JETA, and advises poets not to take recourse to this method of writing. But Rājasekhara does not agree with him, and defines this kind of poetry in a better manner than the safaa and shows good artistic taste in the verse illustrating this class. The fact that he differs from Anandavardhana in this respect becomes manifest by the word sagt: in this definition and by the passage staat Anri: on p. 71 l. 12. ll. 20-25. The third variety is approved of by Anandavardhana as suitable for adoption, and is defined by him as afashi Cf. तत्त्वस्यान्यस्य सद्भावे पूर्वस्थित्यनुयाय्यपि । वस्तु भातितरां तन्व्याः शशिच्छायमिवाननम् ॥ Dhvanyāloka. 4-14. That the same view of Anandavardhana is adopted by Rājaśckhara is evident from the word gfratsfo mentioned in this definition. Page. 64. il. 1-1. This method of description of the jewels is similar to that of the elephants adopted in the preceding verse. This kind of borrowing alone is permitted by Anandavardhana. ll. 5-14. This fourth division is not mentioned by any early writer. •847=sameness of basic principles. In the following two verses, the appearence of the Kadamba flower, the sign of the rainy season, becomes a source of enjoyment to the queens, because hings do not undertake war during that season and remain at home. Relying on this fact, two poets have composed two different verses where the second excels the first in description. अयस्कान्तवत् । Four kinds of poets who have special fondness for the use of these four kinds of Artha in their descriptions are named after these four Arthas in the same way as 37275777 ( magnet) which attracts iron and is called by that name. l. 16 ·222 EXPLANATORY NOTES 994: 1 The poet is said to belong to the fifth variety when his attention is always drawn to the arata e or the method of description not adopted by any earlier poet. 11. 18-25. Here Rājasekhara quotes a set of anonymous verses giving definitions of five classes of poets who are named differently as : प्रामक, चुम्बक, कर्षक, द्रावक, and चिन्तामणि. Page. 65. 1.7. 17917=a kind of sugarcane. This description is called staff as it is concerned with terrestrial things. *[1. 11. देवीपुत्रमसूत attributed to योगेश्वर in सदुक्तिकर्णामृत ]. 11. 11-14. It is called Bio since it is concerned with celestial beings. This verse is quoted once before while describing an Arthakavi (p. 18 ). II. 15-18. 2: because it pertains to both celestial and terrestrial beings. 11. 19-23. afat should be connected with the raast. Each of these four Arthas is subdivided into eight and, therefore, the total number of sub-divisions is thirty-two. Page. 66. 11. 1-8. Here, the effata required for the figure of speech known as opfazare, is shown in the first half of the second verse, and this is quite contrary to that shown in the last line of the first verse. It is, therefore, called . *[1. 10. gar grusomh Vide. Vāmanālankára III. 2. 2. Il. 9-17. It is called togafa faa7.e9 because the three stages gjogari, affarat 9794 and atatale are not stated in the second verse, though all the other stages are adopted as given in the first verse. Read आपादितस्थपुटसंस्थिति शोषपोषात् । 11. 18-24. Font denotes here an army. The same idea expressed in the first verse, is developed upon, and enlarged in the second verse.

·TWELFTH ADHYAYA 223 1. 25. FCA 923771 When a later poet borrows an idea from earlier writing, but deviates totally from the original language, he is compared here to an actor who appears in a different dress from his original one. 1. 26. नेच्छइ पासासंकी is read as पाशाशंकी काओ णेच्छइ in the Gathasaptaśati. (3-5.) 1. 11. Page. 67. II. 2-5. The same idea, embodied originally in the Prākṣta language in the first verse, is expressed in Sanskrit in the subsequent verse. *[ 1. 7. great (SHE 101;) Truntg attributed to Vijjākā; 1. 16. Tatsauto attributed to Vālmīki; 1. 18. HA $940 of. ततः कुमुदनाथेन गर्भिणीगण्डपाण्डुना । उदयादिशिरःसीम्नि निहितं पदमिन्दुना ॥ द्रोणपर्व.] 11. 15-19. In these two verses, the brightness of the moon is described as similar to the paleness of a lady's cheek. But the cause for the paleness of a lady's cheek, is mentioned in the first verse as emaciation due to the influence of passion, and, in the next, due to her being in a delicate condition. This is what is called हेतुव्यत्यय. II. 20-26. The behaviour of the swans described in the first verse, is transferred in the second verse to the deer. Page. 68. 11. 3–15. Combining in a concise manner, the imports of two different sentences belonging to early writers, is called mye. The river Narmadā is called here a aet, but, in fact, it should be called a 7 as it flows towards the west. 70=a kind of fish. सरिताम् may be construed with 34TH:, ·224 EXPLANATORY NOTES Adhyāya XIII. Page. 69. 11. 1-10. It should be noted here that Dhvanikāra denounced this borrowing tendency on the part of poets as geOTH, saying तदनन्तरमालेख्यप्रख्यमन्यत्साम्यं शरीरान्तरयुक्तमपि तुच्छात्मत्वेन त्यक्तव्यम् । But Rājaśckhara thinks that this practice is not unsuitable for poets. It is worthy of note that #h, the first division of 3e7954 is almost the same as the seventh division समिति of the प्रतिबिम्बकल्प, An example of ### is then given. The glorious aspects of he setting sun described in the first verse are transferred to the rising moon in the second verse. This gives rise to संक्रमिति. Ill. 11-19. The author of the first verse describes the flame of a lamp, and this description is accompanied with several similés; while in the second verse only the nature of the flame is described with all similés omitted. This kind of borrowing is not very different from the second variety known as aos of the safaa where also the borrowing of a portion of the complete description is illustrated. ll. 20-24. The third variety ocy of this section does not seem to be different from the व्यत्यस्तक of the प्रतिबिंबकल्प. I. 25. Pastatteti also does not differ from the day, the third division of the previous section. The examples of these divisions also show an exact similarity, because in both the forms, things described in a concise form in the first verse, are explained in detail in the second verse. *[ 1. 26. yra found in 22769719814. II. ] Page. 70. *[ L. 8, 8949 ( P. IX, 23.) ] ll, 7-15. In the first verse, the similé comparing the moon with the breast of a lady is mentioned as subsidiary to the principal similé comparing the moon with the golden pot. In the second verse, however, the subsidiary similé of the first verse has been adopted as the principal similé. It is, therefore, called JTA.

·THIRTEENTH ADITYAYA 225 mo II. 16-24. This नवनेपथ्य is exactly similar to the नटनेपथ्य of the प्रतिबिंबकल्प class. In the came the same import of the first stanza is expressed in the second verse in a different language by a different poet. But, here, the same description of a thing adopted in the first verse, is reproduced in the second in a slightly modified style. It is described in the first stanza that fago on a woman's cheek which resembled the dark spot in the moon, is removed by the drops of her tear when she wept at the delay of her lover. But, in the second verse, the same idea is represented in a dified style and 97348 or leaves and creepers in the checks of the ladies are said to have been destroyed by the hot tears coming from the oyes of the खण्डिता नायिकाs. 1.25. gærk#rs is said to take place when a later writer borrows a method of description from an earlier poet and changes the principal object of description. The first verse is exploited while the second shows the exploitation. In both the verses, cited as an illustration of this class of borrowing, the elephant's trunk of Ganeśa is described as similar to the stalk of a lotus when it is raised up by him. But the author of the first verso makes the sun resemble a lotus to which Gaṇeśa's trunk is said as the stalk; while the author of the second versc represents the tip of the elephant's trunk as the lotus, *[ 1. 26. Salig z977:. No. 80 of yuftaract, attributed to fo@t whom Rājasekhara praises as under:-- अथो गणपति वन्दे महामोदविधायिनम् । विद्याधरगणैर्यस्य पृज्यते कण्ठगर्जितम् ॥ This is attributed by some to farfa.] Page. 71. *[ 1. 6. tara. in 413*. II; attributed to Vālmīki.] 11. 6-11. The author of the first verse, compares the wintermoon to a mirror which is made dirty by the sighings of on-lookers. The same idea has been borrowed by the author of the next verse where he describes the happy countenance of a lady as similar to a mirror which becomes natural when the dirt due to the tears and sighings of the on-lookers, is cleared off. This borrowing is, therefore, called प्रत्यापत्तिः । ;

·226 EXPLANATORY NOTES 11. 12-14. AISTAJAT etc. Rājasekhara approves of this kind of borrowing on the part of poets, while he denounces the other kind of plagiarism already described by the name of affar979. He quotes in support of his view, a verse ti etc. *[l. 14. अन्यथात्वमिवाळुति, आर्छति from आ ऋ. 1. 17. etapaa. (alshra. 1-2). Page. 72. *[l. 3. दिश्याभूर्जटिजूटकोटि. found in सरखतीकण्ठासरण. 1. 8. TIS AIT: attributed to YTET. ] 1. 17. artigo etc. The purport of this verse seems to be that the ten nails of God Rudra's feet, by the reflection of black colour of Nārāyana who bowed before Rudra, resembled the ten moons on the heads of the ten Rudras and they seemed to have come to worship the moon which is on the head of the cleventh Rudra. Construction in this case may be made thus:-नमन्नारायणच्छाया- च्छुरिताः पादयोः नखाः दश रुद्रेन्दवो (भूत्वा) रुद्र त्वच्चन्द्र सेवन्त इव । The reading suggested as na: in the text makes a slight change in the purport. In that case it may be construed thus:- नमनारायणच्छायाच्छुरिताः (अत एव) रुद्धन्दवः पादयोः दश नखाः हे रुद्र त्वचन्द्र सेवन्त इव. If the word Nārāyana is changed to Nārāyanī, then this verse will give quite a different sense. The face or the moon on the head of arergoft or qrant who bowed before Rudra, being reflected on the ten nails of his feet resembled the ten moons worshipping the moon on the head of Rudra. The purport of the next verse ## etc. is, however, quite clear, where it is said that the moon on the crown of Rudra seems to have taken six forms on being reflected on the five nails of Jh when he bowed before one of her feet. *[l. 25. अगणे, सैकते शशिमरीचिलेपने (जानकीहरण 8. 85). Page. 73. *[1. 10 कुरचक कुचाघातकीडारसेन attributed to रमाकर (सुभाषितावलि. No. 2564). 1. 25. संविधातुमभिषेकमुदासे (किरात. IX. 32.)]

·THIRTEENTH ADHYAYA 227 Page. 74. 1. 4. The word caefit may be read as 19491 which means bamboo'. The metaphor or 69% in this verse is between the moon and the YET for and in support of it, a simile or 3971 comparing the broken pieces of bamboos with the rays of the moon, is given. The word casite may also be read as Makita which means arrow-root and is known in vernacular as aquett. 1. 9. The reading Heâ may be proferred here as the stars are similar to the us flowers and they provide themselves as signs to determine the position of the tank. *[1. 10. agafen ( affaET. IV. 3. 32.)] 1. 16. aftergeg=at the commencement of public roads in the cities. *[l. 18. वियति विसर्पतीव quoted in काव्यानुशासन of हेमचन्द्र. There we find जरठशरकाण्ड विपाण्डषु and हसतीव.] 1. 22. Three ślokas from Fahfez par: etc. explain the portion TESTTÅGAI fulcai which is the last part of the verse विशिखामुखेषु विसरति etc. आमपिधानम्-raw lid. Page. 75. 1l. 3-8. The poet Surānanda, on this point, seems to follow Anandavardhana whose views are already stated. This Surănanda belonged to the Yāyāvaragøtra to which Rājasekhara belonged, as can be inferred from tho verse contained in tho Balarāmāyaṇa and cited below. स मूर्ती यंत्रासीद्गुणगण इवाकालजलदः सुरानन्दः सोऽपि श्रवणपुटपेयेन वचसा । नचान्ये गण्यन्ते तरलकविराजप्रभृतयः महाभागस्तम्मिन्नयमजनि यायावरकुले॥ 1-13. He was in the court of the rulers of the Cedi country, and was probably a contemporary of king Ranavigiaha of Cedi (cir. 875–911 A. D. see Bhandārkar Report VI. p. xix.) There is a verse bearing on this point, in the Sūktimuktāvali and is attributed to Rājasekhara :- नदीनां मेकलसुता नृपाणां रणविग्रहः । कवीनां च सुरानन्दश्चेदिमण्डलमण्डनम् ॥ p. 47. (G. O. S. edition).

·228 EXPLANATORY NOTES The preamble 'git' shows that the verse argerdt etc. is quoted from the work of Surānanda. Similar sentiments are also expressed in the Dhvanyāloka. of. सरस्वती स्वादु तदर्थवस्तु निष्यन्दमाना महतां कवीनाम् । अलोकसामान्यमभिव्यनक्ति प्रतिस्फुरन्तं प्रतिभाविशेषम् ॥ 1-6. Page. 76. *[l. 4. अविरलमिव. ( मालतीमाधव III )]. 1. 12. Anuprāsa and Atiśayokti are the two Alankāras illustrated in the two subsequent verses. [1. 13. जयन्ति' बाणासुर ( कादम्बरी 2.)]. Page. 77. 1.3. In the first verse, the moon, reflected on several limbs of a lady, is described as adorning her with ornaments, while in the second verse the same moon, reflecting on her, is described as worshipping her because he was inferior to the beauty of her face. *[1. 10. Read चन्द्रेण भाति रमणी रमणीय. 1. 13. ताम्बूलवाल्ली. (रघु. VI. 64)]. 1. 17. युक्तयोगदः=one who is able to connect things appropriately. Page. 78. 1. 4. Translate:-It seems to me that the poetical skill lies in the exact knowledge of the practices either to be given up or adopted from anong the 32 kinds enumerated. *[1. 7. शब्दार्थशासनविदः कति नो कवन्ते. f. ध्वन्यालोक. 1. 7.] - Adhyāya. XIV. Page. 78. 11. 14-25. Bhāmaha, Dandin and Vamana include the descriptions of अशास्त्रीय and अलौकिक things amongst the Dosas or blemishes of a composition. Cf. देशकालकलालोकन्यायागमविरोधि च । प्रतिज्ञाहेतुदृष्टान्तहीनं दुष्टश्च नेष्यते ॥ Bhamaha. 4-2.

·FOURTEENTH ADAYAYA 229 देशकालकलालोकन्यायागमविरोधि च । इति दोषा दर्शवते वाः काव्येषु सूरिभिः । Dandin. 4-3. देशकालस्वभावविरुद्धार्थानि लोकविरुद्धानि । कलाचतुर्वर्गशास्त्रविरुद्धार्थानि विद्याविरुद्धानि ॥ Vāmana. 2. 23, 24. Rājasekhara, however, permits the use of patients and arrieta descriptions, which he deals with in these three chapters and calls them as fa77. These varieties are, however, quite distinct from those included in the Doşas by such earlier writers as Bhāmalia and others. Vāmana, for the first time, uses the word #10444 in his 5-1 of the Kávyālaňkārasūtra and under this heading he instructs poets to observe certain rules in order that errors relating to grammar, metre and gender may not creep into their composition. The Fathy explained by Rājasekhara in these chapters seems to be different from Vāmana's Flor777 also. Rājaśckhara seems here to indicate that though all the fats are generally against the Šāstras as well as usage, there are certain varieties which are worthy of being adopted; while there are others which aro to be totally avoided. He intends saying that though his afha seems to be mariaates, it is worthy of adoption in poetical composition because such things had actually existed either in carly ages or in different parts of the world and also because earlier poets have adopted such descriptions in their works. Yet, another kind of description which is included amongst the Dosas by Bhämaha and others as frala and it should necessarily be avoided by poets, because in such cases the things described are purely imaginary and they neither existed at any time or at any place, nor such method as this was followed by any of the early poets. This is the real sense of the term Kavisamaya. Some dishonest poets, however, have used the same term in different ways so as to suit their own selfish ends. Rājasekhara appears to be the first writer to deal with this subject exhaustively, and the later writers such as llemacandra and others have borrowed freely from him; and in doing so they merely added some new verses as illustrations. Page. 79. *[The chapters XIV to XVIII are borrowed in 410713anafaah; staiga (2767 1. 30) ).

·230 EXPLANATORY NOTES 1. 4. The words 99, 3797 etc. are common nouns and, therefore, the meanings of these words are included in the group of a or genus. 1. 6. Kālidāsa alludes here to the existence of lotus flowers in the river S'iprā. 1. 10. In this verse, figna or the blue water-lily is described as blossoming in the river Ganges. *[1]. 11-13. gfalasare:, ait: would be better; read 24 - दत्तात्रपालीम्.] 11. 15-18. In this verse, one Keśava probably a king or a rich man, is eulogised as having done some wonderful thing for the Kudungeśvara the presiding deity of Ujjaini. Here the river near Ujjaini is said to be full with swans and Sārasa birds. *[]. 16. For कुडुङ्गेश्वर in Ujjaini see प्रबन्धचिन्तामणि-सिद्धसेनप्रबन्ध, 1. 20. स्वर्णस्फीति. स्फाति is the correct gramimatical form ] 11. 19-22. alt=serpents or elephants. faqa=young animals or bouts. Ferof=water or gold. suarai=feeder of clouds or bearer of clouds. All these words having two meanings apply to both the ocean and the mountain described in this verse, which is in double entendre, Page. 80. 11. 3-4. The words tect and aia are synonyms.. *[1. 5. यद्यपि चन्दनविटपी also is in शाधरपद्धति ] 1. 12. खनाममुद्रा-मकरालयः. *[ 1. 21. तनुलग्ना (विद्धशालभलिका. III. 6.)] 1. 21-22. The reading of this verse here, seems to be better than the reading of the printed edition of the Viddhasālabhañjikā as चरणचारपात्रमिव and वियदपि चालिकदनम्. But the commentator of that work, adopted the readings as obtained in the printed edition while commenting upon this verse. *[l. 25. यन्त्रद्रावित. Tbid III. 14; Mss, of काव्यानुशासन विवेक- read शनद्रावित.]

·FOURTEENTH ADHYAYA 231 1). 25-26. The reading adopted in the Sarasvatikanthābharana is a gift for fata found here, and Bhoja commented upon that reading in the following manner. सद्यो दावितकेतकोदरदलस्रोतःसादृश्यादिसंभवादियं संभवभणितिः. But Nārāyaṇa, the commentator on the Viddhasālabhaſjikā, commented upon this reading somewhat differently as: यन्त्रेण तैलेक्षुरस- निष्कासनार्थे सम्पादितदारुशिलादिनिर्मितोपकरण विशेषेण द्रावितानि etc. 1. 1. Page, 81. *[1. 1. TREAT.' is the correct grammatical form. ] Read उत्सेक्या instead of उत्सेच्या. *[ 1. 13. न्यस्ताक्षरा. (कुमार. I)] 1. 17. stufffffahrthe Kavisamaya under the miscellaneous section. *[1. 19. In gai ef: read famae instead of fafagra and दूरदूरस-पयाः for दूर दूर सपयास्तृषितस्य. ] ll. 19-22. The first half of this verse alludes to the ocean of milk, while the second refers to the ocean of salt. It is, therefore, evident that poets do not differentiato generally between the two Oceans. The word दूर means अत्यन्त just as दूर विलंबिनो घनाः । दूरदूरसपया. दूरं अत्यन्तं, दूरसं नीरसं पयः यस्य सः The last line of the vei se may be construed as :- स त्वं कूपपयसः मरोः (पञ्चमी) किं न जघन्यः ? । and translated thus: "Are you not inforior to the desert where the wells supply water for drinking purposes." Page. 82. 1. 8. Reading BTTėtzt: may be adopted here in consonance with the statement contained in the verse af TUTT FETTY ctc. There it is said that the S'ophālikā tiees let fall their flowers in the presence of the moon, as if to complain to the moon with drops of tears against the cruel treatment of the sun they receive during the day. .The line सतोऽपि कियार्थस्यानिबन्धनम् may be interpreted in the following manner :- ·232 EXPLANATORY NOTES सतोऽपि कियार्थस्य though Sephalika flowers do fall during the day also; अनिबन्धनम् =they are not, however, described as falling during the day. Cf. -पतितसुमनसः सन्ति शेफालिकाश्च Kavyamimamsa. p. 41, 1. 17. and न विना चन्द्र शेफालिकाया विकसन्ति कुसुमानि । Viddhasalabhanjika 2. 19. Hemacandra's Kavyānusāsana reads : (p. 11.) क्रियाया यथा-दिवा नीलोत्पलानां विकासस्य, निशानिमित्तस्य शेफालिकाकुसुमानां विस्रंसस्य. Here the word दिवा may be construed with विकास and विलंस. During the day both नीलोत्पलविकास and शेफालिकाविलंस are not described. *[l. 21. मण्डलीकृत्य attributed to दण्डि]. 1. 21. मण्डलीकृत्य etc. see Kavyadarsa. (1-70). Adhyāya XV. Page. 83. *[1. 13. MSS. of काव्यानुशासनविवेक read प्रतिदिश मिव; ] 1. 13. The reading प्रतिदिशमिव is better than प्रतिदिन मिव. *[1. 14. उत्खातनिर्मल० seems to be from हयग्रीववध of मेण्ठ.] 1. 20. भीम=Narakāsura, the son of the earth-goddess. Page. 84. *[1. 2. द्योतितान्तःसभैः (माघ. II. 7.) 1. 17. पुष्पं प्रवालोपहितं (कुमार. 1. 44.) 1.27. Read उभयतटचलाबद्धवानीरहाराम् । 1. 27. वर्णा may be read as वेण्णाम्. Page. 85. 1. 3. कृष्णहरितयोरैक्य is explained here in the line: मरकतसदृशं च यामुनम् । The colour of मरकत is हरित and the colour of the water of the river Yamunā is said to be black or st. 1. 7. The similarity of our and 1918 colours, is shown by the word श्यामनिशासु। 1. 12. The word atalapairat explains the similarity between पीत and रक्त.

·SIXTEENTH ADHYAYA 233 *[ 1. 13. (Aira. IX. 22.). 1. 15. Bitch (TE. II. 25.) ] 1. 15. The word waaring illustrates here the similarity between ys and nitt. 1. 22. Both the words वीला and प्रेङ्खा mean 'moving'. वीजां मृदु defa may be considered as a better reading. *[ 1. 25. Bet of (g. IX. 93.). Page. 86. *[ 1. 1. 976914. À963. 1. 36. 1. 5. Jaita (979. 1. 47.) ] Adhyāya XVI. 1. 12, The varieties of Kavisamaya mentioned above relating to the terrestrial things may equally be applied to celestial things. But some special features of alfa 147 are treated in this chapter. *i 1. 18. Efecifta. (719. II. 53.). 1. 14. मा भैः in वामनीयालङ्कार. 3. 2. 7.] ll. 14-19. In the first verse, a lady is represented as speaking to the quivering image of the moon reflected in the glass of wine held in her hand. Here, the moon is called TT1or one having a black spot resembling the form of a hare. In the second verse the same black spot of the moon is compared to a dcer. केलिप्रकाश seems to be a proper name. It may also be taken to mean as Iofesy treT='brilliant in sports.' Page, 87. 11. 1-4. In this verse, the army of Yādavas is said to carry banners with the fish-sign because gga, the son of Krşņa and the chief of the Yādava army, was an incarnation of ###21 and therefore is known as मत्स्यकेतन. This verse seems to be the reply of a warrior, very probably Hd, who was asked to enter the army of the Kauravas in the Mahābhārata war where the Yādavas and Drona were protecting the Sindhunātha alias Jayadratha. ३० 1. 26.

·234 EXPLANATORY NOTES - Construe:-आपातमारुतविलोडितसिन्धुनाथः हात्कारभीतपरिवर्तितमत्स्यचिहां याद- वमहोदधिभीमवेलामुलध्य पवनसूनुरिव द्रोणाचलमुद्धरामि । Here the two words सिन्धुनाथः and द्रोणाचलम् have double signification. *[1. 6. After the verse वन्द्या, MSS. of काव्यानुशासनविवेक add- यथाच-यदिन्दोरन्वेति व्यसनमुदयं वा निधिरपा- मुपाधिस्तत्रायं जयति जनिकर्तुः प्रकृतिता। अयं कस्संबन्धो यदनुहरते तस्य कुमुदः विशुद्धाः शुद्धानां ध्रुवमनभिसन्धिप्रणयिनः ॥] 11.5-13. All MSS of this work cite only the first verse 9-11 विश्वसृजः etc. to illustrate this Kavisamaya. Hemacandra who borrows all these chapters in the same order as found here in his Kāvyānuśāsanaviveka, includes the second verse aferat afat etc. also. This verse is quoted from the Anargharāghava of Murāri. It appears from this that Murāri, the author of the Anargharāghava may be placed before Rājasekhara (cir. 900 A. D.) on the strength of this quotation from his work. It is worth remembering in this connection that Murāri is supposed to have flourished before 850 A. D. on the doubtful testimony of a verse in the Haravijaya of Ratnākara. The verse in question runs thus:- अङ्के कुनाटक इवोत्तमनायकस्य नाशं कविय॑धित यस्य मुरारिरित्थम् । आक्रान्तकृत्नभुवनः क गतः स दैत्य- नाथो हिरण्यकशिपुः सह बन्धुवगैः ॥ 38-68. Although the words मुरारि, नाटक, कविः etc. do clearly refer to the poet Murāri the author of the Anargharāghava drama, yet the event mentioned in the verse does not agree with the theme as found in the drama Anargharāghava, because Rāma, the hero is not stated there as being killed in any of the Ankas as required by this verse. It is, therefore, difficult to take the words मुरारि etc. in the verse to represent the author of the Anargharāghava. The construction of this verse of Ratnākara may, therefore, be taken thus:-- कविः कुनाटके अके उत्तमनायकस्य नाशमिव मुरारिरित्थं यस्य नाशं व्यषित सः आक्रान्त- कृत्स्नभुवनः दैत्यनाथः हिरण्यकशिपुः सह बन्धुवर्गः क गतः ॥

·SIXTEENTH ADBYAYA 235 It may also be pointed out, here, that the present context is not complete unless this verse is accepted as a genuine part of the Kāvyamīmāmsā. Because the verse art fast: etc. relates only to the moon born from the eye of spa and not to the moon born from the ocean as required by the statement अत्रिनेत्रसमुद्रोत्पत्नयोरक्यम्. Bub the second verse aparat cafa etc. refers to the moon born from the ocean and thus both the verses together illustrate this . The verse oferat: etc., therefore, is a genuine part of the work. Relying upon the accuracy of Hemacandra in quoting these chapters of the Kāvyamīmāmsā which is amply borne out by other instances such as in line 19 of this page as alter Tacta, this verse also may be taken as a genuine quotation made by Rājasekhara from the Anargharāghava of Murari. *[l. 14. Read बहुकालजन्मनोऽपि शिवचन्द्रमसो बालत्वम् । 1. 19. MSS of काव्यानुशासन read कामस्य मूर्तत्वममूर्तत्वञ्च यथा । 1. 20. अयं स found in प्रबन्धचिन्तामणि; 1. 24. धनुर्माला attributed to घण्टक in सुभाषितावलि; separate मनो and भेद्यम्; शब्दप्रभृतयः seems better reading.] 1. 25. Construe as :-877349: HE 77. Page. 88. *[1. 2. यस्याधोऽधः attributed to राजशेखर in कवीन्द्रवचनसमुच्चय and in सदुक्तिकर्णामृत; and to चन्द्रक in सूक्तिमुक्तावली. 1.7. येन ध्वस्तमनोभवेन attributed to भारवि. For the meaning see ध्वन्यालोक;] 11. 7-10. For the meaning of the verse da qemaluaa etc. see also Sarasvatīkaņķhābharaṇa. p. 166 (N. S. edition). Reading planifesyFKEITIS: as found in C. MS. is correct. In the case of 314a construo as: इष्टानि भुजङ्गा एव हारा वलयानि च यस्य सः । In the case of माधव, इष्टः भुजङ्गहा (गरुडः) यस्य सः; रवे शब्दब्रह्मणि लयो यस्य सः. Here Nārāyaṇa and Mādhava are described as one and the same. ll. 12-15. Construe as:-दोा मन्दं ईरितः मन्दरः येन सः । In the first half of this verse mar and we are described as identical, and in the second half the identity of Lakşmi with wealth and earth is described.

·236 EXPLANATORY NOTES 1.17. Sarasvatikanthabharana reads त्वं नागराज instead of हे नागराज. *[1. 19. Read सोढाऽविषधवृषवाहनयोगलीलापर्यवन्धनविधेस्तव । quoted in सरखतीकण्ठाभरण II. 1. 24. जयन्ति बाणासुर. कादम्बरी.2.] Page. 89. [ अस्ति दैत्यो. first verse of हयग्रीववध of भर्तृमेण्ठ, दानवाधिपते and महासु- रसमाजेऽस्मिन् seem to be from the sanne work. (One Inore verse विनिर्गतं मानद. is quoted in काव्यप्रकाश. कविसमय of वामन is different from that of राजशेखर. The following quotations will explain the #f4444 and show how far the later writers of कविशिक्षा Vere indebted to राजशेखर for this. कवीनां समयस्त्रेधा निबन्धोऽप्यसतस्सतः। अनिबन्धस्स जात्यादेनियमेन समासतः ॥ असतोऽपि निबन्धो यथा- गिरी रत्नादि हंसादि स्तोकपद्माकरादिषु । नीरेभायं खगङ्गायां जलजाद्यं नदीष्वपि ॥ तमसः सृचिभेद्यत्वं मुष्टिग्राह्यलमुच्यते । अअलिग्राह्यता चन्द्रविषः कुम्भोपवाद्यता ॥ प्रतापे रक्ततोष्णत्वे की? हंसादिशुभ्रता । कृष्णत्वमपकीर्त्यादौ रक्तत्वं कोपरागयोः ॥ चतुष्ट(क)त्वं समुद्रस्य वियोगः कोकयोनिशि । चकोराणां सुराणां च ज्योत्स्नावासो निगद्यते ॥ रमायाः पद्मवासित्वं राज्ञो वक्षसि च स्थितिः । समुद्रमथनं तत्र सुरेन्द्र श्रीसमुद्भवः ॥ सतोऽप्यनिबन्धो यथा- चन्दने फलपुष्पे च सुरभी मालतीसुमम् । शुक्ल पक्षे तमोऽशुक्ल ज्योत्स्ना फलमशोकके ॥ रक्तिमा कामिदन्तेषु हरितत्वं च कुन्दके । दिवा निशोत्पलाब्जानां विकासिस्वं न वर्ण्यताम् । नियमेन निबन्धो यथा- सामान्येन तु धावल्यं पत्रपुष्पाम्बुवाससाम् । चन्दनं मलयेष्वेव मधावेव पिकध्वनिम् ॥ अम्बुदाम्बुधिकाकाहिकेशभृशेषु कृष्णताम् । बिम्बबन्धूकनीरेषु सूर्यबिम्बे च रक्तताम् ॥

·SIXTEENTH ADHYAYA 237 खं नाव्यं मयूराणां वर्षाखेव विवर्णयेत् । नियमस्य विशेषोऽन्यः कश्चिदत्र प्रकाश्यते ॥ शुभ्रमिन्द्रद्विपं ब्रूयात्रीणि सप्त चतुर्दश । भुवनानि चतस्रोऽष्ट दश वा ककुभो मताः ॥ जिनसेन अलङ्कारचिन्तामणि-pp. 7 & 8. असतोऽपि निबन्धेनानिबन्धेन सतोऽपि च । नियमेन च जात्यादेः कवीनां समयस्त्रिधा ॥ असतोऽपि निबन्धो यथा- रत्नादि यत्र तत्राद्री हंसाद्यल्पजलाशये । जलेभाय नभोनद्यामम्भोजाद्यं नदीष्वपि ॥ तिमिरस्य तथा मुष्टिग्राह्यं सूची विभेद्यताम् । अञ्जलिग्राह्यता कुम्भोपवाह्यत्वे विधुत्विषः । शुक्लत्वं कीर्तिहासादी कार्य दुष्कीय॑धादिषु । प्रतापे रक्ततोष्णत्वे रक्तत्वं क्रोधगयोः ॥ विभावर्या भिन्नतटाश्रयणं चक्रवाकयोः । ज्योत्स्नापानं चकोराणां वर्णयेदसदप्यदः ॥ चतुर्भिः कलापकम् । सतोप्यनिबन्धो यथा- वसन्ते मालतीपुप्पं फलं पुष्पं च चन्दने । अशोके च फलं ज्योत्स्नाध्वान्ते कृष्णान्यपक्षयोः ॥ कामिदन्तेषु कुन्दानां कुङ्मलेपु च रक्तताम् । प्रियमुपुष्पे पीतत्वं सरोजमुकुलादिषु ॥ हरितत्वं दिवा नीलोत्पलानां स्मेरता दिवा । शेफालिकासुमे भ्रंशं वर्णयेन सदप्यदः ॥ त्रिभिविशेषकम् । नियमो यथा- मुक्तास्ताम्रपामेवाब्धिप्वेव मकरानपि । भूर्जदून हिमवत्येव मलये येव चन्दनम् ।। सामान्यग्रहणे वारिमुचां कृष्णत्वमेव हि । रक्तत्वमेव रत्नानां पुष्पाणां शौक्लयमेव च ॥ तथा वसन्त एवान्यभूतानां ध्वनितोद्भवम् । वर्षाम्खेव मयूराणां रुतं नृत्तं च वर्णयेत् ॥ विभिर्विशेषकम् । नियमविशेषो यथा- नीलकृष्णयोहरितकृष्णयोः श्यामकृष्णयोः । पीतपाटलयोः शुक्लगौरयो गसर्पयोः ॥ महार्णवसागरयोः क्षीरक्षारसमुद्रयोः । कमलासम्पदोः कामध्वजे मकरमत्स्ययोः ॥ द्वादशानामप्यर्काणां वार्य त्रिग्जचन्द्रयोः । चन्द्रे शशणयोर्विष्णुशेषकर्मादिकस्य च ॥ नारायणदामोदरमाधवप्रभृतेरपि । दानवासुरदैत्यानामैक्यमेवाभिसम्मतम् ॥ चतुर्भिः कलापकम्।

·238 EXPLANATORY NOTES दानवास्तु विप्रचित्तिः शम्बरो नमुचिस्तथा । पुलोमादयोऽथ दैत्या हिरण्याख्यो विरोचनः । बाणो हिरण्यकशिपुर्बलिप्रह्लादकादयः । अथासुरा वृषपर्वबलवृत्रादयः स्मृताः ॥ स्त्रीणामक्ष्णः कटाक्षाणां शुक्लता कृष्णताऽथवा । कृष्णताप्यथवा शुक्लश्यामता शुक्लकृष्णता ॥ बहुकालजन्मनोऽपि शिवचन्द्रस्य बालता । मनोभवस्य मूर्त्तत्वममूर्त्तत्वं च वर्ण्यते ॥ देवदेवीस्थितिं विद्यान्नायिकानायकक्रमम् । स्वभावान् सर्वजीवानां व्यवस्था देशकालयोः ॥ अमर-काव्यकल्पलतावृत्ति-द्वितीयप्रतान pp. 30-31. असतोऽपि निबन्धेनानिबन्धेन सतोऽपि वा। नियमेन च जात्यादेः कवीनां समयनिधा ॥ असतोऽपि निबन्धो यथा- रत्नानि यत्र तत्राद्रौ हंसायल्पजलाशये। जलेभायं नमोनद्यामम्भोजायं नदीष्वपि ॥ तिमिरस्य तथा मुष्टिग्राह्यत्वं सूचिभेद्यता। अञ्जलिग्राह्यता कुम्भोपवाह्यत्वं शशित्विषः ॥ शुक्लत्वं कीर्तिहासादी कायं चाकीर्तिपापयोः । प्रतापे रक्ततोष्णत्वे रक्तत्वं क्रोधरागयोः ॥ विभावर्या भिन्नतटाश्रयणं चक्रवाकयोः । ज्योत्स्नापानं चकोराणां चतुष्कत्वं पयोनिधेः ॥ सतोऽप्यनिबन्धो यथा- नियमो यथा-- वसन्ते मालतीपुष्पं फलपुष्पे च चन्दने । अशोके च फलं ज्योत्स्नाध्वान्ते कृष्णान्यपक्षयोः ॥ कामिदन्तेषु कुन्दानां मुकुलेषु च रक्तता । हरितत्वं दिवा नीलोत्पलानाञ्च विकासिता ॥ वर्णयेन सदप्येतनियमोऽथ प्रकाश्यते । भूर्जत्वग्घिमवत्यैव मलये ह्येव चन्दनम् ॥ सामान्यग्रहणे शौक्लयं छत्राम्भःपुष्पवाससाम् । कृष्णत्वं केशकाकाहिपयोनिधिपयोमुचाम् ॥ रक्तत्वं रनबन्धूकबिम्बाम्भोजविवस्वताम् । तथा वसन्त एवान्यपुष्टानां कलकूजितम् ॥ वर्षाखेव मयूराणां रुतं नृत्यं च वर्णयेत् । नियमस्य विशेषोऽथ पुनः कश्चित् प्रकाश्यते ।। कमलासम्पदोः कृष्णहरितो गसर्पयोः । पीतलोहितयोः स्वर्णपरागाग्निशिखादिषु ॥ नियमविशेषो यथा- ·SEVENTEENTH ADHYAYA 239 चन्द्रे शशैणयोः कामध्वजे मकरमत्स्ययोः । दानवासुरदैत्यानामैक्यमेवाभिसम्मतम् ॥ बहुकालजन्मनोऽपि शिवचन्द्रस्य बालता । मानवा मौलितो वा देवाश्चरणतः पुनः ॥ ao toqear pp. 40, 41 and 42.] 11. 12–13. Here Rājaśckhara declares that he is the first writer to deal with this kind of Kavisamaya which the carly writers on poetics failed to uotice. But they included other varieties of Kavisamaya which readily form part of the Doșas or blemishes in poetical composition or ungrammatical usages. The passages – काव्ये सुप्त इव स्थितः । स साम्प्रतमिहास्माभिर्यथाबुद्धि विबोधितः ॥ clearly show that early authors were not opposed to it, and that Rājasekhara alone took up this subject to be treated of in detail. Adhyāya XVII. Chapters 17 and 18 are reproduced by Henacandra in his Kāvyānušāsanaviveka (pp.126-135) and he followed the same order as found here. 11. 19-22. In this verse, the firmament and the earth aro described as forming one world. This is shown by the words क्रमपरिमिता भूमिर्विष्णोः and जगति सकले. It is alluded here that in the whole world there can be no other family than this where the members such as Bala, Hara and Vişnu of the family could not till their little land due to want of a second ox. Page. 90. *[1.1. quife. (HIHF. 1. 7.); There the reading is pret instead of ares. ] 1. 1. tat-earth and firmament. *[1. 4. त्वमेव quoted as an example of वर्णश्लेष in सरस्वतीकण्ठाभरण. 1. 10. Hrithaft description of the palace of king Harşa, the patron of Bāņa. 1. 15. निरवधि in वामन 4-3-32; the general reading is स्थितमनिवर्तित.]

·240 EXPLANATORY NOTES 1. 25. Jambūdvīpa is situated in the middle of the other tas having three Dvīpas on both the sides. The names of all the seven atas and their order of precedence are mentioned in this verse. Page. 91. ll. 1-2. Each of these seven eas are surrounded by seven concentric oceans. 1. 6. Kavyanuasanaviveka reads as तस्मिन्नप्याजिकेलिव्यतिकरविजयोपार्जिते atrait operis À 7 art: etc. but Vāgblata's Kāvyānusāsana reads as कस्मिन्नव्याजकेलिव्यतिकरविजयोपार्जिते वीरचर्ये. Both वीरवर्थे and वीरचर्ये do not give any clear sense of that passage and therefore, it may be changed as वीरवर्यः which may be construed with : in the next line. The purport of the verse, then will be as follows:- The great warrior, probably Parasurāma, becanic dissatisfied with Brahman because he thought that all these eighteen islands, earth with its nine sub-divisions, one mighty ocean, and the fertile country all around, acquired by him through his prowess in battles, seemed to him to be insufficient for his liberality'. The reading :- चक्रे पुञ्जन दातुं तदिदम् may be construed thus:-यः atrap: afar gha aig #gfa far aad 99 Paraśurāma becamo dissatisfied with Brahinan because he could create very little for being given away in charity'. *[1. 7. MSS of काव्यानुशासनविवेक read पर्याप्तं मे न दातुः instead of चके पुजेन दातुम् ।] II. 13-16. This verse ATCHAHH etc. is not quoted by Hemacandra in his Kāvyānuśāsanaviveka. The import of this verse is that the enemies of a king were defeated and driven out to the shores of the three oceans where also they had the riches of a king in the form of elephants of the quarters, Cintāmaņi jewels and Kalpaka trees etc. although they lost their own elephants, jewels and gardens. *[]. 22. MSS of विवेक read अगस्त्यचुलुकोत्क्षिप्त.] 1. 23. Read प्रस्तरायितम् instead of पूतरायितम्. ETT means a small stone. The reading of also is quite suited to the emendation as प्रस्तरायितम् । The purport of this verse would then be as follows:

·SEVENTEENTH ADHYAYA - . God Keśava assumed the form of a small stone in the hand of Agastya when he commenced drinking the water of the seven oceans, lest Agastya may drink him too. Page. 92. *[1. 1. For देवेनाम्युजजन्मना. MSS. of विवेक read ब्रह्मणा पुण्यकर्मणा.] 11. 1-7. For a detailed description of ele see the Vayu purāņa chapter 34 from which this portion of the Kāvyamimāṁsā seems to have been drawn. *[l. 13. चक्रवर्तिक्षेत्र, f. देशः पृथिवी तस्यां हिमवत्समुद्रान्तरमुदीचीनं योजनसहस्र- परिमाणमतिर्यक्चक्रवर्तिक्षेत्रम् । Kautilya's Arthasāstra p. 338.] II. 8–17. Compare the version in tho Vāyupurāņa with the description of Bhāratavarşa here:-- भारतस्यास्य वर्षस्य नव भेदाः प्रकीर्तिताः । समुद्रान्तरिता ज्ञेयास्ते त्वगम्याः परस्परम् ॥ इन्द्रद्वीपः कसेरुश्च ताम्रपर्णो गभस्तिमान् । नागद्वीपस्तथा सौम्यो गन्धर्वस्त्वथ वारुणः ॥ अयं तु नवमस्तेषां द्वीपः सागरसंवृतः । योजनानां सहस्रं तु द्वीपोऽयं दक्षिणोत्तरम् ॥ आयतो ह्याकुमारिक्यादागङ्गाप्रभवाच्च वै । + यस्त्वयं नवमो द्वीपः तिर्यगायत उच्यते । कृत्स्नं जयति यो ह्येनं स सम्राडिह कीर्त्यते ॥ + सप्त चास्मिन् सुपर्वाणो विश्रुताः कुलपर्वताः । महेन्द्रो मलयः सह्यः शुक्तिमानृक्षपर्वतः ॥ विन्ध्यश्च पारियात्रश्च सप्तैते कुलपर्वताः ॥ Vayupurana. Chapter 45, 78-88. The similarity is so remarkable as to leave very little room for doubting that the description of Bhāratavarşa, as given here, is wholly based on the information supplied by the Vāyupurāņa. Page. 93. 1. 4. घनसार-camphor. 1. 6. गौः=a house. मुनिपुङ्गव%Agastya. 1. 17. of. Manusmrti:-- आ समुद्रात्तु वै पूर्वादासमुदात्तु पश्चिमात् । तयोरेवान्तरं गिर्योः आर्यावर्त विदुर्बुधाः ॥ 2-22. ३१ ·242 EXPLANATORY NOTES 1. 20. Here Rājasekhara divides India into five parts, and gives topographical information relating to these parts. His conception of the country dividing itself in five parts, is probably derived from the position, boundary and description of Madhyadeśa as found in such carlier works as Manusmộti, Kāmasūtra, etc. The countries lying in the four directions from the Madhyadeśa constitute four groups each consisting of several divisions. *[ 11. 21-27. Viveka and Vāgblața read RTF., Archy, aat.] 1. 3. For the things produced in Southern India see the products of the four Malaya mountains already enumerated on pp.92-93. *[ ll. 2-17. Viveka reads भैमरवी वेणी कृष्णवेणी and वनायुजकम्बोज, Vāgbhața reads 39779dt, while Viveka has garaat. Vāgblața reads 64797, FTFULFEF. Viveka and Vägbhata have gait and act, and add जालन्धर after हिमालय. हारहूर is the correct reading as हारहार is mentioned by वराह मिहिर ]. यदाहु etc. This verse is quoted from the Manusmrti (2-21). Madhyadeśa is also mentioned in the Kāmasūtra thus:- मध्यदेश्या आर्यप्रायाः शुच्युपचाराः । 2-5-21. The same verse fchafteuth_TH, etc. (Manu. 2-21 ) is quoted in the Jayamangalā on this Sūtra and is attributed to Bhrgu there but not to Manu. According to Vasiştha, Jayamangalā gives a different reading as गङ्गायमुनयोरित्येके इति वसिष्ठः । instead of हिमवद्विन्ध्ययोः of this verse. 11.23-24. The portion of this country, called sprağat, is situated within the four boundaries: of the Sarasvati in the west, Prayāga in the east, the Ganges in the north and the Yamuvā in the south. For similar demarcation of Brazia, Cf. इमेऽन्तर्वेदीभूषणं पाश्चालाः । पाञ्चालास्तव पश्चिमेन त इमे वामा गिरां भाजनास्त्वदृष्टेरतिथी. भवन्तु यमुनां त्रिस्नोतसश्चान्तरा ॥ Balarāmāyana x. 86. 1. 17. Kānyakubja or modern Kanauj is called FETT7 or forge and is situated on the bank of the Ganges. Cf. verses 88-90 of the Balarāmāyaṇa act X.

·>EVENTEENTH ADHYAYA 243 He says, II. 25-27. Here Rājasekhara mentions four places: maiat, ब्रह्मशिला, गाधिपुर, and कालप्रिय in order to show that the direetions are to be taken only as relative, and not as always accurate. These four places seem to be situated in the four directions of the Kanauj city, and these are used here to prove the inaccuracy of the directions, for instance, that the direction east of Vāmanasvāmi corresponds to the west of Brahmaśilā; similarly, the south of Gādhipura corresponds to the north of Kūlapriya. Excepting Brahmaśilā the other three limits of the city of Kanauj are already well-known. It is not, therefore, difficult to imagine that all the four boundaries refer to the city of Kanauj. This is further strengthened by the additional references given below. (1) Vāmanasvāmi is an incarnation of Vişņu. According to the Padmapurāņa, (Srştikhanda, 35 and Uttara. 53) Rāma, the king of Ayodhyā, once built a temple for Vāmanasvāmi in the city of Mahodaya or Kānyakubja. ( see the Geographical Dictionary of N. L. Day. p. 89). Rājasekhara refers, very probably, to this temple of Vāmuna, and according to him it was situated in the western part of the city and towards the west of Brahmašilā. (2) Gādhipura is also mentioned by Rājasekhara in his Būlarāmāyaṇa (act X, 88), and apparently he means by that word the city of Kanauj. llere, he mentions further that Gădhipura is situated towards the north of the Kālapriya temple. Gädhipura, therefore, appears to be a suburb of Kanauj in the northern part, while Kālapriya appears to be situated in its southern part. (3) The temple of Kālapriyanatha also inust have been a part of Kanauj, and the deity is referred to in the three famous dramas of Bhavabhūti, who mentions that his dramas were staged before an audienco assembled in connection with festivities in honour of S'rī Kālapriyanātha. It is well-known that Bhavabhūti was a contemporary of king Yašovarman of Kanauj ( 8th century A.D.) and was patronized by him. It is not unnatural, therefore, on the part of Bhavabhūti to refer to the presiding deity Kālapriyanātha belonging to the capital city of his patron king Yasovarman. The testimony of Rājasekhara also makes it clear that the temple of Kalapriya was situated in the southern part of Gādhipura which is again a suburb of Kānyakubja.

·244 EXPLANATORY NOTES These evidences militate against the views of some of the commentators on Bhavabhūti who are disposed to identify Kālapriyanātha with the deity of Padınapura in Vidarbha, the birth-place of Bhavabhūti, or with' Mabākālośvara of Ujjayini. As there are not strong reasons to support cither of the two theories mentioned above, these may be dismissed as fanciful. ( 4 ) Now the position of Brahmasilā mentioned by Rājasekhara may be determined on the strength of the position of the other three places, and its exact situation may be located in the eastern part of the city of Kanauj. It is also probable that Rājasekhara, being a teacher of king Mahendrapāla of Kanauj, was well acquainted with the topograplıy of the city, and thus mentioned the four parts of the city of Kanauj to prove the relativity of directions. For his appreciation of the city of Kanauj sce introduction page xxi. (pp. 93-94. With the five divisions of our author of. “The five Divisions of India, or the “Five Indies," as they are usually called by the Chinese, are as follows: I. Northern India comprised the Panjab proper, including Kashmir and the adjoining hill states, with the whole of castern Afghanistan beyond the Indus, and the present Cis-Satlej States to the west of the Saraswati river. II. Western India coinprised Sindh and Western Rajputana, with Kachh and Gujarat, and a portion of the adjoining coast on the lower course of the Narbada river. III. Central India comprised the whole or the Gangetic provinces from Thanesar to the head of the Delta, and from the Himalaya mountains to the banks of the Narbada. IV. Eastern India comprised Assam and Bengal proper, including the whole of the Delta of the Ganges, together with Sambhalpur, Orissa, and Ganjam. V. Southern India comprised the whole of the peninsula from Nasik on the west and Ganjam on the east, to Cape Kumari ( Comorin) on the south, including the modern districts of Berar and Telingana, Mahārāshtra and the Konkan, with the separate states of Haidrabad, Mysore and Travancore, or very nearly ·SEVENTEENTH ADHYAYA 245 the whole of the peninsula to the south of the Narbada and the Mahānadi rivers. Cunningham's “The Ancient Geography of India" pp. 11-12. For the various countries of. नक्षत्रत्रयवगैरामेयाद्यैर्व्यवस्थितैर्नवधा । भारतवर्षे मध्यात् प्रागादि विभाजिता देशाः ॥१॥ भद्रारिमेदमाण्डव्यसाल्वनीपोजिहानसङ्ख्याताः । मरुवत्सघोषयामुनसारखतमत्स्यमाध्यमिकाः ॥ २ ॥ माथुरकोपज्योतिषधर्मारण्यानि शूरसेनाश्च । गौरग्रीवोदेहिकपाण्डुगुडाश्वत्थपाञ्चालाः ॥ ३ ॥ साकेतकककुरुकालकोटिकुकुराश्च पारियात्रनगः । औदुम्बरकापिष्टलगजायाश्चेति मध्यमिदम् ॥ ४ ॥ अथ पूर्वस्यामअनवृषभध्वजप माल्यवद्रियः । व्याघ्रमुखसुह्मकर्वटचान्द्रपुराः शूर्पकर्णाश्च ॥ ५॥ खसमगधशिबिरगिरिमिथिलसमतटोड्राश्ववदनदन्तुरकाः । प्राग्ज्योतिषलौहित्यक्षीरोदसमुद्रपुरुषादाः ॥ ६ ॥ उदयगिरिभद्रगौडकपौण्ड्रोत्कलकाशिमेकलाम्बष्ठाः । एकपदताम्रलिप्तककोशलका वर्धमानाश्च ॥ ७ ॥ आनेय्यां दिशि कोशलकलिङ्गवङ्गोपवङ्गजठराङ्गाः । शौलिकविदर्भवत्सान्ध्रचेदिकाश्चोर्ध्वकण्ठाश्च ॥ ८ ॥ वृषनालिकेरचर्मद्वीपा विन्ध्यान्तवासिनस्त्रिपुरी। श्मश्रुधरहेमकूज्यव्यालग्रीवा महाग्रीवाः ॥ ९ ॥ किष्किन्धकण्ठकस्थलनिषादराष्ट्राणि पुरिकदाशार्णाः । सह नमपर्णशबरैराश्लेषाद्ये त्रिके देशाः ॥ १० ॥ अथ दक्षिणेन लङ्का कालाजिनसारिकीर्णतालिकटाः । गिरिनगरमलयद१रमहेन्द्रमालिन्यभरुकच्छाः ॥ ११ ॥ कङ्कणटङ्गणवनवासिशिविकफणिकारकोडणाभीराः । आकरवेणावर्त्तकदशपुरगोनर्दकेरलकाः ॥ १२ ॥ कर्णाटमहाटविचित्रकूटनासिक्यकोल्लगिरिचोलाः। क्रौञ्चद्वीपजटाधरकावेर्यो ऋश्यमूकश्च ॥ १३ ॥ वैडूर्यशङ्खमुक्ता त्रिवारिचरधर्मपटनद्वीपाः । गणराज्यकृष्णवेल्लूरपिशिकशूर्पाद्रिकुसुमनगाः ॥ १४ ॥ तुम्बवनकार्मणेयकयाम्योदधितापसाश्रमा ऋषिकाः। काञ्चीमरुचीपट्टनर्यार्यकसिहलऋषभाः ॥ १५ ॥ बलदेवपट्टनं दण्डकावनतिमिशिलाशना भद्राः । कच्छोऽथ कुजरदरी सताम्रपर्णीति विज्ञेयाः ॥ १६ ॥ नैर्ऋत्यां दिशि देशाः पल्लवकाम्बोजसिन्धुसौवीराः । घडवामुखारवाम्बष्ठकपिलनारीमुखानाः ॥ १७॥ फेणगिरियवनमाकरकर्णप्रावेयपारशवशुद्राः ।

·246 EXPLANATORY NOTES बर्बरकिरातखण्डक्रव्यादामीरचकाः ॥ १८ ॥ हेमगिरि सिन्धुकालकरैवतकसुराष्ट्रवादरद्रविडाः । खात्याये भत्रितये ज्ञेयश्च महार्णवोऽत्रैव ॥ १९ ॥ अपरस्यां मणिमान् मेघवान्वनौः क्षुरार्पणोऽस्तगिरिः । अपरान्तकशान्तिकहैहयप्रशस्ताद्रिवोकाणाः ॥ २० ॥ पञ्चनदरमठपारततारक्षितिजुङ्गवैश्यकनकशकाः । निर्मर्यादा म्लेच्छा ये पश्चिमदिस्थितास्ते च ॥ २१ ॥ दिशि पश्चिमोत्तरस्यां माण्डव्यतुखारतालहलमद्राः । अश्मक्कुलूतलहडस्त्रीराज्यनृमिवनखस्थाः ॥ २२ ॥ वेणुमती फल्गुलुका गुरुहा मरुकुच्चचर्मरङ्गाख्याः । एकविलोचनशूलिकदीर्घप्रीवास्यकेशाश्च ॥ २३ ॥ उत्तरतः कैलासो हिमवान्वसुमान् गिरिधनुष्मांश्च । क्रौञ्चो मेरु. कुरवस्तयोत्तराः क्षुद्र मीनाथ ॥ ४ ॥ कैकयवसातियामुनभोगप्रस्थार्जुनायनामीध्राः । आदर्शान्तीपित्रिगर्ततुरगाननाश्वमुखाः ॥ २५ ॥ केशधरचिपिटनासिकदासेरकवाटधानशरधाना । तक्षशिलपुष्कलावतकलावतकण्ठधानाच ॥ २६ ॥ अम्बरमद्रकमालवपीरवकच्छारदण्ड पिङ्गलकाः । माणहलहूणकोहलशीतकमाण्डव्यभृतपुराः ॥ २७ ॥ गान्धारयशोवतिहेमतालराजन्यखचरगव्याश्च । यौधेयदासमेयाः श्यामाकाः क्षेमधूर्ताश्च ॥ २८ ॥ ऐशान्यां मेरुकलष्टराज्यपशुपालकीरकाश्मीराः । अभिसारदरदतङ्गणकुलुतसैरिन्धवनराष्ट्राः ॥ २९ ।। ब्रह्मपुरदावंडामरवनराज्य किरातचीनको णिन्दाः । भल्लापलोलजटासुरकुनटखसघोषकुचिकाख्याः ॥ ३० ॥ एकचरणानुविद्धाः सुवर्णभूर्वसुधनं दिविष्ठाश्च । पौरवचीरनिवसनत्रिनेत्रमुजाद्रिगन्धर्वाः ॥ ३१ ॥ वगैरामेयायैः क्रूरग्रहपीडितैः क्रमेण नृपाः । पाचालो मागधिकः कालिङ्गाश्च क्षयं यान्ति ॥ ३२ ॥ आवन्तोऽथानों मृत्युं चायाति सिन्धुसौवीरः । राजा च हारहौरो मद्रेशोऽन्यश्च कौणिन्दः ॥ ३३ ॥ बृहत्संहिता Chapt. XIV. प्राड्नर्मदायशोगोडवसुराः कलिङ्गबाहीकाः । शकयवनमगधशबरप्राग्ज्योतिषचीनकाम्बोजाः ॥१॥ मेकलकिरातविटका बहिरन्तःशैलजाः पुलिन्दाश्च । द्रविडानां प्रागर्द्ध दक्षिणकूलं च यमुनायाः ॥२॥ चम्पोदुम्बरकौशाम्बिचेदिविन्ध्याटवीकलिङ्गाश्च । पुण्ड्रा गोलालश्रीपर्वतवर्धमानाश्च ॥ ३ ॥ इक्षुमतीयथ तस्करपारतकान्तारगोपबीजानाम् ।

·SEVENTEENTE ADHYAYA 247 तुषधान्यकटुकतरुकनकदहन विषसमरशराणाम् ॥४॥ गिरिसलिलदुर्गकोशलभरुकच्छसमुद्ररोमकतुखाराः। वनवासितङ्गणहलस्त्रीराज्यमहार्णवद्वीपाः ॥ ६ ॥ शोणस्य नर्मदाया भीमरथायाश्च पश्चिमार्द्धस्थाः । निर्विन्ध्या वेत्रवती सिमा गोदावरी वेणा ॥ ९ ॥ मन्दाकिनी पयोप्णी महानदी सिन्धुमालतीपाराः । उत्तरपाण्ड्यमहेन्द्राद्रिविन्ध्यमलयोपगाश्चोलाः ॥१०॥ द्रविडविदेहान्ध्राश्मकभासापुरकौङ्कणाः समन्त्रिषिकाः । कुन्तलकेरलदण्डककान्तिपुरम्लेच्छसङ्करजाः ॥ ११ ॥ नासिक्यभोगवर्धन विराटविन्ध्याद्रिपार्श्वगा देशाः । ये च पिबन्ति सुतोयां तापी ये चापि गोमतीसलिलम् ॥ १२ ॥ लौहित्यः सिन्धुनदः सरयूर्गम्भीरिका रथाह्वा च । गङ्गाकौशिक्याद्याः सरितो वैदेहकाम्बोजाः ॥ १६ ॥ मथुरायाः पूर्वार्ध हिमवद्गोमन्नचित्रकूटस्थाः । सौराष्ट्रसेतुजलमार्गपण्यबिलपर्वताश्रयिणः ॥ १७ ॥ चरपुरुषकुहकजीवकशिशुकविशठसूचकाभिचाररताः । दूतनपुंसकहास्यज्ञभूततवेन्द्रजालज्ञाः ॥ १९ ॥ सिन्धुनदपूर्वभागो मथुरापश्चाधभरतसौवीराः। घुघ्नोदीच्यविपाशासरिच्छतदूरमठसाल्वाः ॥ २१ ॥ गर्तपौरवाम्बष्ठपारता वाटधानयौधेयाः । सारखताजुनायनमत्स्यार्द्धग्रामरायाणि ॥ २२ ॥ तक्षशिलमार्तिकावतबहुगिरिगान्धारपुष्कलावतकाः । प्रस्थलमालवकैकयदाशार्णोशीनराः शिबयः ॥ २६ ॥ ये च पिबन्ति वितम्तामिरावती चन्द्रभागसरितं च । रथरजताकरकुञ्जरतुरगमहामात्रधनयुक्ताः ॥ २७ ॥ आनर्बुिदपुष्करसौराष्ट्राभीरशुद्रैवतकाः । नष्टा यस्मिन्देशे सरस्वती पश्चिमो देशः ॥ ३१ ॥ कुरुभूमिजा: प्रभासं विदिशावेदस्मृतीमहीतटजाः । खलमलिननीचतैलिकविहीनमत्त्वोपहतपुंस्त्वाः ॥ ३२ ॥ गिरिदुर्गपल्लवश्वेतहणचोलावगाणमरुचीनाः । प्रत्यन्तधनिमहेच्छव्यवसायपराक्रमोपेताः ॥ १८ ॥ बृहत्संहिता-Chap.XVI. cf. also the quotations from quate in Bhattotpala’s commentary ac loc. of. also महेन्द्रो मलयः सद्यः शुक्तिमान् ऋक्षपर्वतः । विन्ध्यश्च पारियात्रश्च सप्तात्र कुलपर्वताः ॥ भारतस्यास्य वर्षस्य नव भेदानिशामय । इन्द्रद्वीपः कशेरुमान ताम्रपर्णो गभस्तिमान् ॥

·248 EXPLANATORY NOTES नागद्वीपस्तथा सौम्यो गन्धर्वस्त्वथ वारुणः । अयं तु नवमस्तेषां द्वीपः सागरसंवृतः ॥ योजनानां सहस्रं तु द्वीपोऽयं दक्षिणोत्तरात् । पूर्वे किराता यस्यान्ते पश्चिमे यवनाः स्थिता: ॥ ब्राह्मणाः क्षत्रिया वैश्या मध्ये शूद्राश्च भागशः । इज्यायुधवणिज्याद्यवर्तयन्तो व्यवस्थिताः ॥ शतचन्द्रभागाद्या हिमवत्पादनिर्गताः । वेदस्मृतिमुखाद्याश्च पारियात्रोद्भवा मुने । नर्मदासुरसाद्याश्च नद्यो विन्ध्याद्रि निर्गताः । तापीपयोष्णी निर्विन्ध्याप्रमुखा नरक्षसम्भवाः ॥ गोदावरीभीमरथीकृष्णवण्यादिकास्तथा । सह्यपादोद्भवा नद्यः स्मृता पापभयापहाः ॥ कृतमालाताम्रपर्णाप्रमुखा मलयोद्भवाः । त्रिसामाचर्षिकुल्याद्या महेन्द्रप्रभवा स्मृताः ॥ ऋषिकुल्याकुमाराद्या. शुक्तिमत्पादसम्भवा । आसां नधुपनद्यश्च सन्त्यन्याश्च सहस्रशः ।। ताविमे कुरुपाच्चाला मध्यदेशादयो जनाः । पूर्वदेशादिकाश्चैव कामरूपनिवासिनः ॥ पुण्डाः कलिङ्गा मगधा दाक्षिणात्याश्च सर्वशः। तथापरान्ताः सौराष्ट्रा. शराभीरास्तथार्बुदाः ।। कारूषा मालवाश्चैव पारियात्रनिवासिनः । सौवीराः सैन्धवा हूणाः शाल्वा. शाकलवासिनः ॥ मद्रारामास्तथाम्बष्टाः पारसीकादयस्तथा । आसां पिबन्ति सलिलं वसन्ति सरिता सदा । समीपतो महाभागा हृष्टपुष्टजनाकुलाः ॥ विष्णुपुराण II, 3. Vinayachandra enumerates 84 countries in his काव्यशिक्षा. 'चतुरशीतिर्देशाः गौडकन्यकुब्जकौलाककलिनागवङ्गकुराङ्गचाल्यकामाक्षओड्रपुण्ड्रोटीशमालवलो- हितपश्चिमकाउबालभसौराष्ट्रकङ्कणलाटश्रीमालावुदमेदपाटमरुवरेन्द्रयमुनागङ्गातीरान्तर्वेदिमागधमध्यकुरु- काहलकामरूपकाश्यवन्तीपापान्तक किरातसौवीरीशीरवाकाणोत्तरापथगुर्जरसिन्धुकेकाणनेपालटक्कतुरु- कताइकारवर्वरजर्जरकाश्मीरहिमालयलोहपुरुषश्रीराष्ट्रदक्षिणापथसिंघचौलकौशलपाण्डअन्ध्रविन्ध्यकर्णाट- द्रविडश्रीपर्वतविदर्भधाराउरलाजीतापीमहाराष्ट्रआमीरनर्मदातटद्वीपदेशाश्चेति ।' also हीरूयाणीत्यादि षदकम् । पत्तनादि द्वादशकम् । मातरादिश्चतुर्विंशतिः । वडू इत्यादि षत्रिंशत् । भालिज्जादि चत्वारिंशत् । हर्षपुरादि द्विपञ्चाशत् । श्रीनारप्रभृति षट्पञ्चाशत् । जम्बूसरप्र. मति षष्टिः । पडवाणप्रभृति षट्सप्ततिः । दर्भावतीप्रभृति चतुरशीतिः। पेटलापद्रप्रभृति चतुरुत्तरशतम् । पदिरालकाप्रभृति दशोत्तर शतम् । भोगपुरप्रभृति षोडशोत्तरशतम् । धवलककप्रमृति पानशतानि माहवासाघमर्धाष्टमशतम् । कौऋणप्रभृति चतुर्दशाधिकानि चतुर्दशशतानि । चन्द्रावतीप्रभृति अष्टादशशतानि । द्वाविंशतिशतानि महीतटम् । नवसहस्राणि सुराष्ट्राः । एकविंशतिः सहस्राणि लाद- ·SEVENTEENTH ADHYAYA 249 देशः । सप्ततिसहस्राणि गुर्जरो देशः पारतश्च । अहूडलक्षाणि ब्राह्मणपाटकम् । नवलक्षाणि डाहलाः। भष्टादशलक्षाणि द्विनवत्यधिकानि मालवो देशः । षड्विंशल्लक्षाणि कन्यकुब्जः। अनन्तरमुत्तरापथ दक्षिणापथं चेति । Hemacandra in his fara framafor explains the names countries as follows: प्राग्ज्योतिषाः कामरूपा मालवाः स्युरवन्तयः । त्रपुरास्तु डाहलाः स्युश्चैद्यास्ते चेदयश्च ते ॥ वास्तु हरिकेलीया अशाश्चम्पोपलक्षिताः । साल्वास्तु कारकुक्षीया मरवस्तु दशेरकाः॥ जालन्धरास्त्रिगर्ताः स्युः तायिकास्तर्जिकाभिधाः कश्मीरास्तु माधुमताः सारस्वता विकर्णिकाः ॥ वाहीकाष्टकनामानः वाल्हीका वाल्हिकायाः । तुरुष्कास्तु साखयः स्युः कारूषास्तु बृहट्टहाः॥ लम्पाकास्तु मुरुण्डाः स्युः सौवीरास्तु कुमालकाः । प्रत्यग्रथास्त्व हिच्छत्राः कीकटा मगधायाः ॥ औड्राः केरलपर्यायाः कुन्तला उपहालकाः । अभिधानचिन्तामणि. 4. 22-27. Jayamangala in his commentary on the वात्स्यायनकामसूत्र locates the various countries as under :- वजा लौहित्यात् पूर्वेण । अगा महानद्याः पूर्वेण । कलिङ्गा गोडविषयादक्षिणेन । वाहीकदेश्या उत्तरापथिकाः । आवन्तिका उज्जयिनीदेशभवाः । ता एवापरमालव्यः । पश्चिमसमुद्रसमीपे- उपरान्तदेशः । अपरमालवपश्चिमेन लाटविषयः । नर्मदाया दक्षिणेन देशो दक्षिणापथः । तत्र कर्णाट- विषयात् पूर्वेणान्ध्रविषयः । नर्मदाकर्णाटविषययोर्मध्ये महाराष्ट्र विषयः । कर्णाटविषयाश्मिणेन द्रवि- इविषयः । कोकण विषयात् पूर्वेण वनवास विषयः । For the description of the countries lying on the way from Ceylon to Ayodhya, see his own बालरामायण (X, 26-96). For the modern equivalents of these places, see Cunningham's "The Ancient Geography of India',' 'The Geographical Dictionary of Ancient and Medieval India" by N. L. Dey, and "The Original Inhabitants of India" by G. Oppert. For products of. स्थलपथेपि हैमवतो दक्षिणापथाच्छेयान् , हस्त्यश्वगन्धदन्ता- जिनरूप्यसुवर्णपण्यास्सारषत्तराः इत्याचार्याः । न इति कौटिल्यः । कम्बलाजिनाश्वपण्यवर्जाः शवञमणिमुक्तासुवर्णपण्याश्च प्रभूततरा दक्षिणापथे । कौटिलीय अर्थशास्त्र p. 298.] । ३२ ·the north or to the south in the eastern horizon and the 250 EXPLANATORY NOTES Page. 95. Il. 1-2. In this verse the figure attent is shown by the words are etc. *[1. 5. एक ज्योतिर्दृशौ (सूर्यशतक. 13) 1. 10. MSS of विवेक read दशदिकूटपर्यन्त. ] 1. 11. FYSaki=one who cannot observe minutely. *[ 1. 14. Viveka reads fazt a fempezaeit: ] 11. 12–14. Part7768=depending on the desire of the speaker. When an astronomer explains the position of directions, he takes recourse to the position of heavenly bodies such as Citra, Svāti, Dhruva, etc. The direction east is decided by seeing the intermediate distance between the two stars चित्रा and स्वाती. Here the word precio denotes also tho day on which the sun's position is between these two stars. That day is known as fagan. when the day and night are equal. There are two such days in a year and they are known as चैत्र or शारदसम्पात and रैवत or वसन्तसम्पात. Only on these two days the sun's position is exactly to the east of the earth at the time of rising, and exact west at the time of setting. In all the other days of the year the sun rises either to night is either longer or shorter according as it is either the Summer Solstice or the Winter Solstice. People in ancient days used to determine the correctness of the eastern direction by the rise of the sun on the faga day when the sun rises between the fast and are constellations, or in other words, when he is in the last degrees of the sign of Virgo. Kātyāyana and his commentator Karkācārya, for instance, have adopted this method of parent to determine the correctness of the eastern direction for the Vedic rites, of: समे शहं निखाय शासम्मितया रजवा मण्डलं परिलिख्य यत्र लेखयोः शङ्कप्रच्छाया निपतति तत्र शई निहन्ति । सा प्राची । (कात्यायनशुल्बसूत्र २.) दक्षिणायने तु चित्रां यावदादित्य उपसर्पति । उदगयने लातीमिति । विषुवतीये त्वहनि ·SEVENTEENTH ADAYAYA 251 चित्राखात्योर्मध्ये एवोदयः । अतस्तन्मध्ये शङ्कगतैव च्छाया भवति + + + + अपि चाभियुक्तो- पदेशः "चित्राखायोरन्तरालं प्राची" इति । न तदन्तरालमादित्यो जहाति । (कर्कभाष्य. २.) *[1. 17. द्वित्रः (विद्धशाल. I. 11.) 11. 21-22. For यियासुः and जिहासुः MSS of विवेक read यियासन् and जिहासनू । 1.23. पश्य पश्चिमदिगन्तलम्बिना ( कुमार. VIII. 32)] Page. 96. *[1. 1. अस्त्युत्तरस्याम्-(कुमार 1.1) 1. 6. यादांसि. (बालरामायण. VII. 46)] 1. 7. Printed editions of the Balaramayana read as वामेन चन्दन- गिरेरुत दक्षिणेन । *[1. 14. Read उत्तरादावप्युत्तरदिगभिधानम् । 1. 15. तत्रागारम् (मेघदूत. II. 12)] 1.3. Page. 97. gra is a country situated in the southern part of India according to the geography given on page 93. 1. 26. 1. 7. For the country of the Yavanas situated in the western India, see page 94. 1. 5. 11.9-12. The readings of this verse in the Viddhasālabhanjikā (1-25) and the Balaramayana (5-38) are given below for comparison. Viddhasalabhanjika : साम्यं सम्प्रति सेवते विचकिलं पाण्मासिकैमौक्तिकैः बाहीकीदशनवणारुणतरैः पत्रैरशोकश्चितः । भूमालम्बितकोटि किंशुकमिदं किञ्चिद्विवृन्तायते माजिष्ठैः स्तबकैश्च पाटलतरोरन्यैव काचिल्लिपिः॥ Bālarāmāyaṇa:- सूते संप्रति दुग्धमुग्धसुभगं पुष्पोद्गमं मल्लिका बाहीकीदशनवणारुणदलैः पत्ररशोकोऽर्चितः । भृशीलशितकोटि किंशुकमिदं किञ्चिद्विवृन्तायते माञ्जिष्ठेर्मुकुलैश्च पाटलतरोरन्यैव काचिल्लिपिः । Here Rājasekhara seems to have introduced a change in his own verse to suit the context. 1, 15. Hastināpura, where Kurupāņdavas ruled, is situated in the Madhyadesa according to its situation mentioned on page 94.1.17.

·052 EXPLANATORY NOTES 1. 18. The same verse gratiae etc. may be taken to show A4541#at also, as poets do not differentiate the two colours tout and श्याम according to the statement made in कविसमय. see.p. 84. 1. 23. 11. 21-22. Construe:-उत्तरकोसलेन्द्रपुत्र्याः तव नवनवनीतपिण्डगौरे अलिके प्रतिफलत् मृगाङ्कबिबं मृगमदपत्रनिभेन लाञ्छनेन अवगतम् । Here the word 7a7aotafqugrit shows the colour of a woman belonging to मध्यदेश. *i l. 25. 919 7777211: (ETHA1F. III. 50.)] The MS. B. and two MSS of विवेक read स्मरस्मेरः स्फारोडमरपुलकं वक्त्रकमलम् । The reading of the A. MS. is adopted in the text. ] Il. 25-26. The Videha country is included in the list of countries in the eastern part of India. The colour of Janaki therefore is expected to be black or $607. But she is described here as white or site because she belonged to a royal family. This verse is also found in the drama Mahānāțaka or Hanumannāțaka, and describes the state of Rāma's mind when he was awaiting the arrival of the army of Khara and his brothers at Pancavati. From this quotation, found originally in the Mahānāțaka and quoted subsequently by Rājasekhara, it should not be presumed that the text of the Mahānāțaka as available to-day is the genuine one, or was composed before the Kāvyamīmāmsā. The drama as at present available seems to be a compilation of verses pertaining to the story of Rāma by a later writer who flourished in the 10th century or later. The present drama contains verses of early dramatists such as Bhavabhūti, Rājasekhara and others, and it is thus reasonable to suppose that the author flourished a little after the time of Rājasekhara. The verse grea ferat *a of the Bălarāmāyaṇa (1-48 ) occurs in the Mahānāủaka ( 1-29 ) and the verse gorgfaa- 199 etc. of Bhavabhūti appears in the Mabānāțaka (2-3). It cannot, however, be denied that there was a Mahānāțaka quite different from the available text because some writers on dramaturgy cite a Mahānāțaka as one of the best dramatic compositions. S'āradātanaya, for instance, in his Bhāvaprakāśana gives the description of the Mahānāțaka thus:- सर्ववृत्तिविनिष्पमं सर्वलक्षणसंयुतम् । समग्र तत्प्रतिनिधि महानाटकमुच्यते ।। P. 241-5. तदामोऽहं यीत्यादि महानाटककल्पितम् । P. 279-22.

·SEVENTEENTH ADHYAYA 253 It cannot, therefore, be definitely said that this verse *912 etc. formed part of the gunuine and the original Mahānāțaka composed earlier than the Kävyamīmāmsā. It is also possible that it belonged to some other dramà dealing with the Rāma-story which was composed earlier than the Kāvyamīmāmsā and later on added to the Mabānāțaka. Construe this verse thus:- जानक्याः करिकलभदन्तद्युतिमुषि कपोले स्फारोइमरपुलकं वक्त्रकमलं स्मरस्मेरःमुहुः पश्यन् etc. in Page. 98. II. 3-4. Rukmiņi, the daughter of the king of Vidarbha, is expected to be of black complexion as the Vidarbha country is included in the southern India. But, here, she is descrihed as it or qus because she belonged to a royal family. 1, 5. auch etc. Hemacandra quoted the whole chapter upto this line without expressing his indebtedness to Rājasekhara but omited the two verses. fastfea etc in his Viveka. Il. 6-9. It is said here that any description contrary to the geographical peculiarities of any country is considered as a blemish composition and, therefore, poets are advised to be careful in avoiding this Doşa in their works. cf. Bhāmaha 4,29-30; Dandin 4,40-44 and Vāmana 2,2,23. ATETETTET I Instances of a fajta are illustrated by the author in the chapter dealing with the blemishes of composition or the 16th Adhikaraṇa of the Kāvyamimāṁsā. This passage also shows that Rājasekhara, intended to complete this Kāvyamimārsā in 18 Adhikarañas as enumerated in the first page of this work. fra: This word also indicates that the author's intention was to write this work in the form of Sūtras on the model of the Arthasāstra and the Kāmasutra. #7777TH According to the list of subjects given on p. 2. 1. 4., Bhuvanakośa seems to be the subject matter of the last chapter of this Adhikarana कविरहस्य, and it immediately follows देशकालविभाग of 17th and 18th chapters. But instead of that, Kālavibhāga is treated as the last subject and the chapter-colophon also shows that the first Adhikarana mfateat ends with the chapter on Kālavibhāga. It may, therefore, be surmised that probably there were some more Adhyāyas dealing with the Bhuvanakośå even after ·254 EXPLANATORY NOTRS the Kālavibhāga chapter in order to complete the first Adhikarana, and these are irretrievably lost to us just as the other 17 Adhikaraņas. This Bhuvanakośa does not seem to be a separate work of Rājasekhara because he mentions this as a part of the Kāvgamimāṁsā, and also because the author is known to have composed only six works as mentioned in the Bālarāmāyana, of. विद्धि नः षटू प्रबन्धान् । 1-12. Such being the case, the Bhuvanakośa cannot be included in this list of six works, and it is very improbable that Rājasekhara should compose an independent work by name Bhuvanakośa in addition to this voluminous work Kāvyamīmāṁsā. The following six works may be taken as his composition: the four dramas, the Kāvyamīmāṁsā and the Haravilāsa Kāvya. For detailed information, see introduction. . Adhyāya XVIII. 1. 13. This line is not found in any of the MSS of this work. On the authority of Hemacandra who quoted the whole chapter in the same order in his Kāvyānusāsanaviveka, this line has been added on to the text. *[l. 14. 181 etc. cf. with this, the division of time in the caref- 16 p. 108. Read ani] 11. 14–15. This verse is found in the Vāyupurāņa with slight modifications: काष्ठा निमेषा दश पञ्च चैव त्रिंशश्च काष्टा गणयेत् कलान्तम् । त्रिंशत्कलश्चैव भवेन्मुहूर्तः तैत्रिंशता रात्र्यहनी समेते। chapter 50-169. In the Arthasāstra the division of time is different:- द्वौ त्रुटौ लयः । द्वा लवी निमेषः । पञ्च निमेषाः काष्टा । त्रिंशत्काष्ठाः कला । चत्वारिंशत्कला aftri falfsa uga: 1 99931 yedi faqat geri It may be noted. that Kautilya states five Nimeşas as equivalent to one Kāşthā, and eighty Kalās as equivalent to one Muhurta. But according to Vāyupurāņa 15 Nimeşas make one Kāşthā wbile thirty Kalās make one Muhûrta. 11. 16-25. Compare Arthaśāstra 2. 20. 38 on the subject of देशकालमान । *[1, 21. The Viveka reads FANATAUSA and 78717 ETATRONAT. ] ·EIGHTEENTH ADHYAYA 255 Page. 99. *[1. 1. Cf. ago Ardana যু शुचिच नभश्च नभुस्यशेषयोजन सह सहस्यश्च त तपस्यश्योपयोम गृहीतोऽसि । तैत्तिरीयसंहिता. 1-4-14-1.] 11. 1-3. The names a HTTP etc, are Vedic terms for twelve months. 1. 4. qat argil The wind originates in the eastern horizon. The Acāryas think that the wind originates from the west in the rainy season, and that by the eastern wind the clouds are dispersed and therefore the rains are obstructed. II. 7-8. =filled with water. 21697:=belonging to the west, the direction assigned to the god Varuņa. *[ 1. 10.arteantugat: 1 metarca. 55. There the reading is 9197:}. 1. 22. Af=full of the essence. *[1. 24. 359141ai (arata 5-35).] 11. 24-27. Rājasekhara seems to have changed the reading of this verso from the version adopted by him in his Bālarāmāyaṇa in order to suit the present context. The last line in the Bālarāmāyaṇa reads:-harafea arar: 1 According to the list of countries given above on page 94, the countries Limpāka, Valhava and Kulūta mentioned in this verse, are situated in the northern part of India. Page. 100. 1. 5. Reading मिलितमलयजः seems to be better than मलितमलयजः and it means that the southern wind comes in contact with the products of the Malaya mountains. सीमन्तिनीनाम् , must be connected with मानचौरः । 1. 11. tarfarq=bereft of water. 1. 15. a fire made of chaff. 1. 16. aaraa:=weapon made of fire. 1. 17. Here Rājasekhara describes the six seasons of the year and enumerates the customs adopted in those seasons, and asks poets to follow the same method in their poetry. He also records the ·256 EXPLANATORY NOTES effects on the natural and seasonal changes on the produce of the country and on men, women and animals. He further describes the seasonal changes as recorded by early poets, and the practices of civilized people and rich men during these seasons. 1. 18. The fact that the Balākās or cranes conceive under the influence of the clouds and that the growth of bamboos is depen dent on the clouds, is handed down by tradition alone and is alluded to by the early poets. of. मेघाभिकामा परिसंपतन्ती संमोदिता भाति बलाकपतिः । Rāmāyaṇa. गर्भाधानक्षणपरिचयाभूनमाबद्धमालाः सेविष्यन्ते नयनसुभगं ग्वे भवन्तं बलाकाः । Meghasandesa. 9. गर्भ बलाका दधतेऽध्रयोगानाके निबद्धाबलयः समन्तात् । Karņodaya. 1. 24. This remark Trof seems to be new inasmuch as the Cakoras are known traditionally to feel happy in a moon-lit night but not in the rainy season, or is it a scribe's error for the word मयूरहर्षी ? zarareita:=because during the rainy season the Yatis are not allowed to wander under the laws of the Dharmaśāstra. *[1. 26. MSS. B. and C. of Viveka read this fra: ] 1. 26. The reading किल कामिनिभिः seems to be better than करिकामि- A for the context. 1. 27. 4: 44 | An unguent in which the four things, sandal, agallochum, saffron and musk are mixed. The things mentioned in this verse are the primary luxuries of the rainy season. Page, 101, I. 1. The 917 birds are believed to drink only the rain-water. 1. 4. fqqəwater. 1. 8. GAIT:=the end of summer. 1. 10. Peacooks are known to become happy at the sight of the clouds or in the rainy-season but not when the clouds disappear in Autumn. But, here in the description of the S'arat season the reading operat faula pacient seems to go against the tradition.

·EIGHTEENTH ADHYAYA 257 The reading manat is, therefore, suggested here and this means that the S'arat season threatens the peacocks by removing the clouds. The reading roštaraft is also suited to the context. *[1. 20. afstigatoTHRH may be taken as one phrase. 1. 21. विवेक reads सुरेभवीथी दिवि सावतारा।] 1. 21. The meaning of this line is not quite clear. Et refers to Airāvata the elephant of Indra. The reading of the Kavyānusāsanaviveka fra Hanit suggests the meaning that a row of stars begins to appear in the sky. 1. 25. que a etc. mean that god Vişņu gets up from his sleep on the day of उत्थानकादशी while आषाढेकादशी is known as देव- Taft or the day on which Vişņu goes to sleep. 1. 26. **AT:=the first paddy crop. 1. 27. The old 8718*** is preferable for medicinal purposes. This verse rent va etc. is quoted in the S'uktimuktāvali (G. O. S. edition. p. 229) with the remark erfa. Page. 102. ll. 1-2. Both the words एवारक and त्रपुसीफल mean cucumber. *[1. 7. Moth attributed to Bhāsa in S'ārņgadharapaddhati p. 593. 11. 9-10. चित्तमन्तः instead of धर्मचिन्ता, पङ्कः instead of पकम् are the different readings.] 11. 7-10. This verse also is quoted in the Sūktimuktāvali. The reading धर्मचित्तम् seems to be better than धर्मचिन्ता. Read 9 for पङ्कम्. 1. 11. helt aga is quoted in the Süktimuktāvali as anonymous. *[1. 14. Read JathTFCA11917T: ] 1. 14. 10=tilling. *[1. 20. द्वित्रि is attributed to कालिदास in सुभाषितमुक्तावली. 1. 26. वराहवर्धाणि नवौदनानि may mean rice cooked along with the flesh of a boar ]. 1. 26. urequifor etc. Rājasekhara seems to describe here the habits of uncivilized people. Similar description is found on page 39 lines 8-9 of this work. Cf.

·258 EXPLANATORY NOTES, इक्षुदण्डस्य मण्डस्य दनः पिटकृतस्य च । वाराहस्य च मांसस्य सैष गच्छति फाल्गुनः॥ The word वराहवध्राणि seems to mean वराहमांस । Page. 103. 1. 6. Fate is a star which is believed to represent the king Trisanku of Ayodhyā who rose to heaven by the spiritual power of Viśvāmitra. This star becomes visible in this season. 1. 9. ausa:=sugar-candy. 1. 13. The word #7yaf is grammatically correct according to the rule zaman ala' 5-4-124 of Pānini. 1. 18. gytagastax This word may be taken as an adverbial clause to स्वपन्ति or an adjective to रजनी when it is changed to • शीताम् । Page. 104. 1. 3, TTTĄ etc. This idea is derived from the verse of Vālmiki quoted already in this work. p. 71. 1. 6. Cf:-रविसक्रान्तसौभाग्यस्तुषाराविलमण्डलः । निःश्वासान्ध इवादर्शश्चन्द्रमा न प्रकाशते । Rāmāyaṇa 3. 16. 13. The purport of this verse is as follows:-The faculty of pleasing every-one belongs naturally to the moon; the sun seems to be endowed with this faculty in winter days, and consequently, the moon is deprived temporarily of the faculty of pleasing all in winter nights. 1. 5. Partle=the plant of the white mustard. 1. 15. gxfaza: 1 Because poor people do not possess sufficient clothing to protect themselves in winter. *[l. 17. अभिनववधू. attributed to मालवरुद्र in औचित्यविचारचर्चा and to we in gatoagrafes, found also in acest 777tor. The first Pāda is found in arroser too.] 1, 24. geatafq=though quite large. Page. 105. 1. 5-6. The worship of Gauri and the lovegod or Manmatha is introduced here.

·BORTRENTA ADAYAYA 259 1. 11. Talgø=clothing with golden embroidery. 1l. 23-26. The purport of this verse is that ladies learn from the spring how to twist, their hair into a braid on seeing the Madhavī buds which grow on the advent of the spring ; also, how to speak sweetly on hearing the sweet tone of the cuckoos and to worship Manmatha with the flowers of Damanaka tree. Page. 106. 11. 1-4. For similar description, compare :- कुरवक कुचाघातक्रीडारसेन वियुज्यसे etc. Kāvyamimāṁsā p. 73. 1. 10. and मुखमदिरया पादन्यासैः विलास विलोकितैः बकुलविटपी रक्ताशोकस्तथा तिलकद्रुमः । Ibid. p. 73. II. 14-15. 1. 9. 91:athe betel-nut tree. 1. 10. fas=a kind of palm tree. *[1. 24. Read #Tea] 1. 24. 47979=a drink prepared with rice-flour. Árin the months of Jyeştha and Aşādha. 1. 25. sützearly in the morning. 1. 26. 4719=a hut, Page. 107. 1. 2. Titel:=handy combination, i. e, materials easily available to alleviate the heat of the summer. 1. 20. Faltaat:=a row of pitchers creating noiso at the entrance of the wells. 1. 25. TA=curd mixed with sugar and spices. Known also as श्रीखण्ड. EHITTharuto which the essence of the mango fruit is added. 1. 26. ######=cooked rice mixed with water. *871:acurd which has been churned. Page. 108. 1.1. TATATAT: essence of deer and the Lāva birds. 1. 4. m=a big pearl.

·260 FXPLANATORY NOTES *[1. 18. च्युतसुमनसः attributed to मालवकुवलय in भौचित्यविचारचर्चा quoted in araCT. III. 2, 5. There the second pada is मलयमरुतः सर्पन्तीमे वियुक्तधृतिच्छिदः। The Vrtti runs as: ऋतुसन्धिप्रतिपादनपरेऽत्र द्वितीयपादे प्रक्रममेदः । एवं द्वितीयपादः पठितव्यः 'मनसि च गिरें बध्नन्तीमे किरन्ति न कोकिलाः। 1. 20. Construe : सवितुः मरीचयः शीतोल्लास लुनन्ति । नच क्लमोदयदायिनी जरठता. मालम्बन्ते। Köşemendra explains in his Aucityavicāracarcă the meaning of this verse in the following passages :- अत्र शिशुतरवसन्तकान्तोपवननवरसोल्लाससूच्यमानमनसिजोत्कण्ठावर्णनायामृतुसंधिसमुचिताः कुन्दाः कुसुमावसानशून्यतनवः, किंशुकाशोकाः कलिकोद्मभरालसाः, मनसि कोकिलाः कलकूजितान्य- मुसन्दधति, रवेमरीचयः शीतोल्लासमय च निवारयन्ति नच सन्तापदायिनी प्रौढतामालंबन्ते ॥' 1. 23. This verse appears also in the Viddhasālabhañjıkā of our author (1-23). Page. 109. *[1. 2. HTFTH Cf. fagf77. 1-25] 1. 2. The first line alone of this verse is taken from 1-25 of the Viddhasālabhañjikā, while the other three lines are newly composed in order to suit the context. *[1. 9. खं वस्ते quoted in सरस्वतीकण्ठाभरण II.] 11. 9-12. In this verse the commencement of the rainy season is described. Here the blossoming of the lotus which happens in summer, is described as continued in the rainy season also. 11. 14-19. Here Rājasekhara states some other signs of previous seasons which are described as continued in subsequent Here artaca, a sign of the summer, is described in this verse to represent 1927 of the rainy season. In this verse all adjectives apply to the subject represented by the word wat धरागमस्य । 11. 20-25. Here it is stated that the Jātī flower which is known in the rainy days as #1877 or 'muddy', continues blossoming even in Autumn when its fragrance is enriched. Page. 110. 11. 1-2. In this verse, the commencement of S'arat and a newcomer from his wanderings, are described as similar by the 594 and figures of speech. Here the days of S'arat season are stated as similar to the legs of the new.comer, seasons.

·EIGHTEENTH ADAYAYA 261 1. 4. Bāņa, Āsana and Kurunțakas represent different kinds of plants, *[1. 7. द्वादशमासः। ef. पचपादं पधर्तवः... हेमन्त विशिरावेकीकृत्येयं कल्पना। शङ्करभाष्य on प्रश्नोपनिषद् 1. 11.] 1. 7. All the signs of Hemanta are here said to continue even in S'iśira, as these two are not generally considered as separate seasons. 1. 9. सुरभिः the spring or वसन्त. The three verses beginning from the area, illustrate an instance of descriptive method in which the signs of Hemanta and S'isira are said to continue even in the spring. II. 11-14. In this verse, the flowers of 774 etc., are described as continued even in the spring. 11. 17-18. Construo: -90 TEL 7999 SETE argiai 74 527 धुन्वन् सोत्कण्ठः अभ्येति । *[1. 19. धुनानः कावेरी quoted in सदुक्तिकर्णामृत (1-457)] 11. 24-25. Here, the signs of the spring and the winter are described as continued in the summer. Page. 111. *[1. 1. ff i FTATA (TESTTA1901. 5. 26 ) ] 1. 2. left=fore-arm. The Bālarāmāyaṇa reads the second line as : Als fatiasi बपुषि च नलिनीमूलकाण्डाः कलापाः । But the reading found here seems to be better than that of the Bālarāmāyaṇa. 1. 9. एवमुदाहरणान्तराणि । For the other exanıples illustrating natural sceneries of different countries and the costume and manners of ladies inhabiting them, a reference may be made to the author's other works such as the Bālarāmāyaṇa, Karpüramañjari, Viddhasālabbañjikā and Bālabhārata where he has exhibited his profound knowledge of the subject, particularly, of the seasonal changes and the topography of the different parts of India, H. 10–11. Here Rājasekhara says that the commencement, development and continuation of the different seasons are described ·262 EXPLANATORY NOTES here only in a very concise form, and that the other characteristics of the seasons, therefore, should be imagined by the poets themselves. नाममाहं कियडूमः। The author regrets here his inability to deal in detail with everything that he happened to know. This testifies to his vast knowledge and his love of the subject. It may further be said that there is no other work in the Sanskrit literature; superior to this portion of the Kāvyamīmāṁsā on the subject of the description of the different seasons. The inferiority of such works as the Řtusamhāra will be quite apparent when it is compared with this chapter. 11. 12–13. Here the author advises other poets not to record their observations indiscriminately in their compositions but to adopt only the method followed by the early poets as their chief guide while describing. 1. 14. Rājasekhara wants to close this chapter on seasons and their divisions after noting dowu two more points regarding the flowers and fruits which also belong to the main theme of this chapter. According to Rājasekhara flowers are required to servo six different functions, such as :-(1) TT beauty (2) 3744 food (3) Toy smell (4) 17 essence (5) 90834 fruits (6) 3 worship. There is no seventh function to be served by them except to wither and decay in the forest. 11. 16-23. A period of four months is to be allowed by poets while describing the process of transformation from a flower to a ripened fruit. This period of four months refers only to the case of the flowers of the trees and not to those of the creepers in which case the period of maturity is two months only. II. 24–25. Here Rājasekhara classifies fruits under six heads according to their form. The word 757 here means pretence. In every fruit the kernel is hidden in the useless and rough skin and this is what is known as pretence. This pretence also varies in six ways by its position in the fruits, either inside or out-side or in both places, and so on. All fruits are divided into six groups following the nature of the pretence of the fruits. Page. 112. 11. 1-4. The fruit of the Lakuca tree has 5 only in the middle and all other portions of it are useful. This fruit may be like the Ciku (fees) fruit of the present day.

·EIGHTEENTH ADHYAYA 268 Mocā or plantain has its uit only on the skin. Amra or mango fruits have their wel both in the seed as well as in the skin, and the fruit 49* has the r everywhere, This seems to be the fruit of the spja tree. The Panasa fruit has many 2015 both in and out, and, therefore, it is called बहुव्याज। नीलकपित्थ seems to be a variety of the Kapittha fruit and it has no 2017 anywhere. 11. 5-8. Here Rājasekhara advises poets to take more care to keep up the propriety (ifrat ) in description than the rules of poetics. For example, all the different seasons should not be, as a rule, described together in one particular place; but one or two only may be dealt with in different places in the composition, not necessarily in the same order as the seasons appear, II, 9-10. 89 is affh or Pratibhā. Cf. अवधानातिशयवान् रसे तत्रैव सत्कविः । भवेत्तम्मिन् प्रमादो हि अगित्येवोपलक्ष्यते ॥ Dhvanyāloka. 3–29. I]. 11-12. Here the author mentions the subject of this chapter as the division of time, and states that due to the lack of accurate knowledge, poets are apt to be confused while bandling this subject. An accurate knowledge of this subject often makes poets superior. *[1. 13. राजशेखर. The following verse in सरखतीकण्ठाभरण contain. ing the name राजशेखर seems to have been taken from his हरविलास. अष्टपत्रमेव कविनामाकं यथा- "रातावद्याधिराज्या विसरररसविधाजवाक् क्षमापकारा राका पक्षमाभशेषा नयनननयनवा रवया स्तव्यमारा । रामा व्यस्त स्थिरत्वा तुहिनननहितुः श्रीः करक्षारधारा राधा रक्षास्तु मह्यं शिवमममवशिव्यालविद्यावतारा ॥" निर्दिष्टाष्टदलन्यासमिदं पादार्द्धभक्तिभिः । अस्पृष्टकार्णकं कोणैः कविनामाङ्गमम्बुजम् ॥ तत्राको राजशेखरकमलः । सरस्वतीकण्यभरणे, द्वितीये-परिच्छेदे ।] 11, 13-15. The colophon and the post-colophon statements, here, indicate the ending of the first section or Adhikaraņa of the Kāvyamīmānsă dealing with the Kavirahasya. In this connection it should be remembered that there must have been another chapter belonging to this Adhikarana and dealing with the subject ·264 EXPLANATORY NOTES of Bhuvanakośa as enumerated in the first chapter p. 2. I. 4 and which now seems to be lost. According to that statement: भुवनकोशः । इति कविरहस्यं प्रथममधिकरणम् इत्यादि । Bhuvanakosa seems to be the last subject dealt with in this Adhikaraṇa. There is another passage also: इत्थं देशविभागो मुद्रामात्रेण सूत्रितः सुधियाम् । यस्तु जिगीषत्यधिक पश्यतु मद्भुवनकोशमसौ ॥ ( Kāvyamīmāṁsā p. 98. ll. 8-9.) which confirms the above view. Some scholars hold that the Bhuvanakośa is a separate treatise of Rājasekhara, but this does not appear to be correct for reasons already cited. It is, therefore, to be concluded that the last portion of the Kavirahasya dealing with the Bhuvanakośa as well as the other 17 Adhikaranas of the Kavyamimāṁsā, as enumerated in the first chapter fra of this work, have been entirely lost. Very probably, the reason why this extent portion alone out of the bulky volume of 18 Adhikaraņas of the Kāvyamimāṁsā has been preserved in the Jain Bhandars of the Patan town in the territory of Baroda Raj, is that the greater portion of this section is borrowed by the great Jain Ācāryas such as Hemacandrācārya, Vágbhața and Māņikyacandra in their Kāvyānušāsanas and in the commentary on the Kavyaprakāśa and, therefore, to prove the authenticity of the writings of their Ācāryas, the later Jain scholars might have taken more care to preserve this portion alone; or, it is also quite possible that only the extant portion of the Kāvyamīmāṁsā was available when the Jain Bhandār Libraries were being organized. Another plausible explanation is that probably Rājasekhara did not live to complete his Kāvyamīmāṁsā which was projected in 18 Adhikaraņasvory ambitious scheme, and the chapters available to-day is the portion which he could complete during his life-time.

·Table showing the portions borrowed from the Kavyamimamsa. Subject. । हेमचन्द्र काव्यानुशारान- विवेक. वाग्भटकाव्यानुशासन । काव्यमीमांसा. and वृत्ति. VIII. -- व्युत्पत्तिः ( काव्यार्थ- अध्याय I. p. 5. 1. 28, अध्याय I. pp. 5-6 अध्याय योनयः) p..6 1. 30 & p.7 II. 16-17 pp. 35-41 -- प्रकृतिः (अर्थव्याप्तिः) अध्याय III. P]). 122-123 अध्याय V.P. 60- अध्याय IX. Pp. 61 42-14 उपजीवन-शिक्षा (हरणम्) अध्याय I. Pp. 8-10। अन्याय I. Pp. 12-, अध्याय XI,XII, 139 XIII. pp. 56- 61 कविसमयः अध्याय I. pp. 11-16 अध्याय I.Pp.7-12 अध्याय XIV, XV, XII. pp. 78-89 देशः अध्याय III.Pp.126- अध्याय I. pp. 3-4 अध्याय XVII. 130 pp. 89-98 कालः अध्याय III. P). 130-135 अध्याय V.p. G5- अध्याय XVIII. 67 Pp.98-112 Vägbbața has not borrowed wholly from Rājasekhara liko Hemacandra, but in some places has substituted his own and the verses of others and has summariscd in Prose the chapter on कालविभाग. The portions which seem to have been borrowed from this work by the authors of the Sarasvatīkanthābharaṇa, S'ụngāraprakaśa and the Bhāvaprakāśana are referred to in the Notos, ·A list of works which offered materials to Rajasekhara in writing the Kāvyamīmāmsā. Subject. Source of information, 1. The story of Sarasvateya Vāyupurāņa and Harşacarita of Kāvyapuruşa. Bāna. see Notes. pp. 117-118 and 139-140. 2. Subjects and arrangement of Kavyālankāra of Rudrața. see Adhikaraņas. Notes. pp. 123-124. 3. Aupanişadika Adhikaiaņa. Artha and Kāma Săstras. sce Notes. pp. 127-128. 4. Object of composition of the Do. Kūvyamīmāṁsā. 5. Division of chapters and Do. subjects. 6. Sastranirdesa chapter. Do. Notes. p. 130. 7. Treatment of Vidyās. Arthaśāstra of Kautilya, sce Notes. p. 135. 8. Risa as the soul of Kávya. Bhiarata's Nātyaśāstra and Rudrata's Kāvyālankāra. Notes. pp. 141-142. 9. Four styles of writing. Bharata's Nátyaśāstra. Notes. pp. 146-147. 10. The division of Sișyas. Vāmaņa's Kāvyālankārasūtra and Arthasāstra. sec Notes. sec SC'e r. 149. see sec 11. Śakti as cause of poetiy. Rudrata's Kāvyālankāra. Notes. p. 150. 12. Definition of Vyutpatti. Do. see Notes p. 156. 13. Five kinds of speech, Väyupurāna and Vişnudharmottara. see Notes. p. 169. 14. Three Ritis. Vāmana's Kāvyālankārasūtra. sce Notes. p. 171. 15. The sources of thic thcnie Do. see, Notes. p. 177. of Kāvya. 16. Two-fold classification of the Udbhata and Bhāmaha. subject-matter of the Notes. pp. 187-188. sanskrit literature. 17. Dutics of poets. Artha and Kāma Šāstras. see Notes. p. 196. 18. Routine of daily duties of Do. see Notes. p. 199. poets. 19. Division of poets who pla. Gaudavaho, Dhvanyaloka, Vā. giarize the early poets. mana's Kāvyālankārasútra etc., sce Notes. pp. 219-221. 20. Description of Jambūdvīpa Vāyupurāņa. see Notes. p. 241. and Bhāratavarşa.

·Index of Verses occurring in the Kâvyamîmâmiså. पृष्ठम् ६९ श्लोकः अत्राधिरोपित अङ्गणे अहहास. अतिकान्त अतितूर्णमति० अत्रावदात० अत्रोपचारः अत्रोपवर्ष ० ९१ ० अथ पथि २५ ९ अथागादेकदा अनुसन्धान अनेन अन्तर्व्याजम् अपड्किल. अपाम् अप्रत्यभिज्ञेय अभिनवकुश अभिनववधू० अभिमुखे अभियोगे अभिलाषम् ९२ पृष्ठम् श्लोकः '८६ | अस्ताद्रि० ७२ अस्ति चित्र ८३ अम्ति दैत्यो १०९ । अस्त्युत्तर ३३ अहर्निशा १.१ आकम्पित. १०३ आकाश ५५ । आगस्त्य. आगोपालक० ०३ आन्छिद्य ११२ आत्मारामा १२ आननेन्दु १११ आपः १०२ आपात० आ मूलतो ६५ आ मूलयरे १११ आ. १०४ आर्द्रावले २४ आलिख्य १५ आवापोद्धरणे ४८ आम्लेषिण आससार १०.' आसीदस्ति ८७ आस्तीको० २१ आस्थान. इक्षुदण्ड ६३ इति काल. ४७ इति विकसति ४८ इति सूत्राण्यथै० ५ इतिहास ७६ इत्थं कविः इत्थवारम् ६३ इत्थं ते ७० इत्थं देश. १६ इत्यं सभा० ६० इत्यनन्तो ११० इत्यनन्य. ४३ ८२ १०३ ६२ अयं काकु० अयं प्रसूनोद्धर० अयं मः ८३ अयमत्रव अरण्ये अर्थः स एवं ११२ ४२ ० २ ० ०९ ४९ अर्थिजनार्थ अलस० अल्पाक्षर० अविरल. अविस्पष्ट. अवीनादौ अव्यादूजेन्द्र० अव्युत्पत्ति भसकल भसूच्यत * * * * * .

·पृष्ठम् श्लोकः पृष्ठम् श्लोकः इत्यर्थः इत्युक्तवानुक्ति विशेषरम्यं मनः इत्युक्तकानुक्तिविशेषरम्यं रामा० इ युद्गते इत्येष इदं कविभ्यः इदं भासाम् इदं महाहाग, इदं हि इयं सा ३५ १९,४५ ४५, ८२ ३८ २३ ४१ । एतद्यत् ७८ एताम् ५८ । एताः ६९ एवम् १० कण्ठ कथमसी न ९ , कथमा मदनो कपाले '२ कपोले करभा. करोति १८ कर्कन्धूनाम २. कर्कोटः ७२ --- उच्चस्तराम् उत्त्यताम् उशम् ३३ १०३ ४३ १११ १०७ उत्खात ७१ कर्ण ८३ कर. ६२ कलि. ७. कवित्वम् कवीनाम् १४ ९६ कामं भवन्तु ३२ उत्पादकः उदयति नवनीत उदयति पश्य उदरम् उदीच्य० उद्दण्डोदर. उद्यानानाम् उन्माययम्बु. उपानयन्ती उपोप० उभौ उमैकपादा० उपस्तु ऊरुद्वन्द्वम् ऊरुदयम् तु० एकम् एकद्विव्यादि एकस्य एकोऽर्थः एणाः एतत्किम् एतत्सुन्दरि १३ १८ कवेः १. ४ कथित कस्त्वम् कायाः ४१ कान्ते १०१ २८ कामं विवृणुते ४१ / कारयित्री कार्या. काव्यकाव्या. ६१ काव्यमय्यो ६१ । काव्येन १११ काश्मीरी ९५ । काष्ठा ११२ कि करोति १३ कि चैते ४८ किमिह १०७ किमीहः १६ / कियता ८५ . कियन्मात्रम् १५ . ror ·२६९ श्लोकः पृष्टम् ९.२ कुकविः कुक्षी पृष्ठम् श्लोकः ४६ चक्र रथो ५९ चतसृष्वपि ११० चतुस्समुद्र चत्वार एते ० ७३ । चत्वारि चन्द्र० ४१ चन्द्रात ६९ चरन्ति १६ चलचटुल. १०१ । चापम् .६ चित्रोदाहरणः १८१ २ चिन्ता० ४८ चैत्रे चित्री १०१ चैत्रे मदद्धिः १०९ च्युत १०६ जना जड० १०८ ५५ कुमुद कुरबक कुर्वत्या कुर्वद्भिः कुवलय. कृतः केदार एव कोपात् कैलास क्रोधम् क्षितिम् खं वस्ते खजूर० ख्याता गगन गतः गये गंभीरत्वम् गर्म गर्भान् गीत गुणादान. गुणानुराग० गुणालङ्कार० गूवाकानाम् गेहाजिरेषु गेहे गोत्राग्र गौडाद्याः ग्रीष्मे प्रैष्मिक० घोरघोर० चकार चकोर० चक्रं दहतारम् २३ ६३ ० ७६,८८ १०९. ७९ जनापवाद ३१ जम्बू ३४ जयति जयत्यमल. १०८ जयत्येक १०. जयन्ति धवल. ', १ । जयन्ति नील० १५ । जयन्ति बाणासुर० २६, ४१, ८३ | जल. जानीयात् १०६ ज्योत्स्नाम् १०० ज्योत्स्नाजल ११० ज्योत्स्नापूर ८० ज्योत्स्नाचिः त आकाश १०८ तं शम्बरासुर० १०९ ततः पुरस्तात् ततस्तम. ततोऽरुण. १०० | तत्तावदेव तत्र दुमा० 3 ८३ . ३४ ६७ ९३ ·श्लोकः पृष्ठम् श्लोकः तत्रागारम् तथागतायाम् तदेव तनु. तन्वनी तन्वानो तमेनम् १८,६५ १११ २४ ९६ दृष्टम् १२ दृष्ट्वार ४४ दृष्टूकासन. ८० | देवासुराः ५९ देवी ६४ देशेषु ९२ दोर्दण्ड दोर्मन्दीरित. ४० | देवायत्ते ७१ द्योतिता० ८ द्राक् ८१ दुमोद्भवानाम् ८६ द्वन्द्वो. ८८ तव तस्य तस्याः १०१ ताटङ्क० १११ द्वा सुपर्णा ३ तापापहार० तामुत्तीर्य ताम्बूल. तासाम् तिष्ठन्त्या तीक्ष्णम् ० ९१ ते पान्तु ११० १०० १०९ ११२ त्यागाधिकाः त्यागो त्वद्विप्रयोगे त्वं पासि त्वमेव दक्षिणो दत्तम् दत्वा दहशाते दलत्कुटज. दलयता दश. दानवाधिपते दारिद्यम् दिश्यात् दीपयन् दीर्घाकुर्वन् दुःखेन्धनक० दूराकृष्ट. दूरात् ५८ द्वित्रिक ८५ द्वित्र १०२ द्वीपानि ६३ द्वीपान्तराणाम् ।.८ द्वौ वज. ५८ धत्ते धनुः २३ धन्यास्तु धुनान ९५ धुन्वन्. ६७ धूली. न च ८१ नदीम् १०१ नद्यो ५६ न निसर्ग ९५ न प्राप्तम् ८९ नमनारायण ५३ नमः शिवाय ७२ नमः संसार ७० नमस्तस्मै ७९ नमस्त्रिभुवना. ३० नमोऽस्तु ५६ नयनोदरयोः नव० १५ १८ ७२ ३० 0 ३५ ३१ ·२७१ श्लोकः पृष्ठम् पृष्ठम् न व्यस्त न स १०३ नागावासः नातिस्पष्टः नाद्यन्त. नाभी. नालिहितः नाश्चर्य स्वयि नाश्चयं यत् नासतो १०५ ६१ १०२ ६६ श्लोकः ३३ । पाण्डोः ३६ पाण्ड्यो ७९ । पादन्यास. ३४ पादस्ते ३८ पाने ६८ पितुः १०६ पिनद्धमाहा० ३९ पियतु ५६ पिबन्त्याखाद्य ३७ । पिहिते २५ पुन्नाग० ६१ पुरा "३ पुरोवाता ९.८ पुष्पम् २७ पुष्पक्रिया० पुष्पिण्यो ६६ पुष्पैः ७७ पुंसः ४० पुंस्कोकिलः ७९ पृथक्त्वेन ६६ पौरस्त्यः ३९ प्रणत. २९ प्रतिगृहम् ८१ प्रतिभा १०७ प्रतीच्छ. ३४ प्रत्यक्ष ३४ प्रथयति नासत्यम् नास्त्यचौरः निक्षेपः निगदित. नित्यम् निरवधि निर्विवेक० निश्चेतना नीचः नीलाश्म० नेच्छा नेपाल्यो नेगमैः ९० ० १०५ ६८ ३० १३ न्यस्ताक्षरा० ५१ ११ ३३ प्रवर्तते ४५ पच्यन्त० पश्चः पठन्ति लटभम् पठन्ति संस्कृतम् पत्युः पदवाक्यविदाम् पदवाक्यविवेकोऽयम् पनसादि पर० परि(र)क्रिया •परिग्रह. पक्ष्य पाक. पाबाल . ४८ प्रशान्त. ३२ प्रसन्न २८ प्रसन्ने ११२ प्रसरति ६४ प्रसरद्विन्दु २ प्रसरन्ति २४ प्रसर्पन् ९५ प्राग्दिशः ६६ प्राणानाम् ९.प्राथुष्यम्भो. ८३ ६९ १२ १९ ·२७२ पृष्ठम् श्लोक प्रियङ्गु. प्रोषितकेन्दु फुल्लातिमुक्त. बहुविधमिह बहपि बहुर्थेषु बुद्धिमत्त्वम् ब्रह्मन् भजन्० भवति १९ भवतु भास्वत् भ्रमति भ्रश्यद्भू. भ्रान्त ३७ २९ १८ भ्रामकः २९ . मज्जन मण्डलीकृत्य मनामि ६६ पृष्ठम् श्लोकः मालायमानामर० ७४ मामि मिथ्या. ३७ मीनध्वजः .४ मुक्तके मुक्तानाम् मुक्तालताः ३३ मुख० मूर्ति. मूलम् ७ मूलैक्यम् मेघ० ३० मेघानाम् य एते यच्चन्द्र० ६४ यत्कायमानेषु ४', ' यत्किञ्चित् यत्तन्त्राकान्ति ३२ । यत्पदानि यत्प्राचि यथा जन्मा. ६९ यथा यथा पुष्यति १०५ यथा यथाभियोगश्च ८५ यथा व्याघ्री ११० यदान्तरम् ७५। यदिन्दोरन्वेति १०१ यदि मे ८९ यदेतत् ६५ यद्यपि ४३ यधुदुम्बर० ५६ याभिः ९१ यश्रद्रावित. ७५ यश्चुम्बति १०४ यः सर्वेषां यस्तु प्रयुझे ८६ / यस्तु सरिदद्रि० ३४ यस्य केशेषु यस्य तन्त्र २० १११ मदम् मध्ये मनाक मनोऽधिकम् मरकत. १०२ मरुबक० १५ मसार० महानवम्याम् महासुर० मा कोश ६ मा गाः पाताल० २६ मा गाः पान्थ ६४ मातमानाम् माद्यचकोरेक्षण. माद्यन्मतः मा निषाद मा भैः मार्गानुगेन मालती २५ ४५ .

·२७३ श्लोकः पृष्ठम् श्लोकः पृष्ठम् वचः ८८ वधूः ६४ वनानि १०० ० ९.२ । वन्द्या २६ ० १०२ ८२ यस्याः यस्याधोऽधः यस्याराति यस्योत्तमाम् या केलि. या चन्द्रिका यादांसि या दुग्धाऽपि यायावरीयः या व्यापारवती यांस्तर्क. युधिष्ठिर० युष्मच्छासन ये कीर्ण येन येऽपि येषां मध्ये येषां वल्लभया ये सीमन्तित यो माधवी १५ १०० . ११० २३ ३ १७ . रगतू० रजनि रवि. १०० वयम् १०७ वरदाय ९६ वराह ६ वल्मीक० २ , वसन्ते ६० वस्तु० ३८ वाग्भावको वात्या. ३२ विकास विचकिल ८८ वित्रस्त विद्याधराप्सरो० १०३ विद्यास्थानानाम् विधव ७१ विधर्माणो १०५ विन्ध्यश्च ८१ विन्ध्यस्य ७४ विभक्तयः ७१ विमुक्त. ३४ वियति १०३ विग्म विलास ३१ । विशिखा. ९. विशेष १०५ विषयस्य ११२ वेदार्थस्य ७६ वैदी व्यक्त ३४ । व्योम्नि ३३ शब्दानाम् ९१ शब्दार्थ ५४ शब्दार्थोक्तिषु ८५ शम. १७ । शरत् . १०३ रसः ३९ २२ ६३ रात्रिः रीतिम् रीतिरूपम् रुणद्धि रोहीतक. लकुचाद्यन्ताजम् लक्ष्म्याः लम्पाकीनाम् ललतू० ललितम् लावणो लीढाभिधोपनिषदाम् लेखया लोलतू० ३१ २८ १०१ १४ ६२ ३८ ११० ·२७४ पृष्ठम् १०३ सा पत्युः ८४ ९३ ६० १०१ १०९ १३ पृष्ठम् श्लोक ३८ सशमी० स सश्चरिष्णुः ३४ | ससंस्कृतम् ८१ ससलकी. ७३ सहकार० सह्याद्रे १११ ६९ सांयात्रिकैः ९६ सा तत्र सा भाति ४२ । सामान्य २७ | साम्यम् ३६ सारस्वतः ३४ | सारस्वतम् १०१ सिद्धार्थ ३२ सिद्धि ८२ सुश्रु सुराष्ट्र. १५ सुमर्जिताम् ४० सेयम् ०४| सोऽयं करैः ६७ | सोऽयं कवीनाम् १५ सोऽयं भणिति ७६ । सोऽस्मिन् ५७ स्तिमित. ४४ स्तेम ५७ | स्तोकानुप्रास. ६७ त्रियः ११ शरीर शाखा. शारदायाः शेताम् शैल. शोकाश्रुभिः शोभान्धो श्यामम् श्यामेषु श्रान्ता श्रियः श्रीमन्ति श्रुतीनाम् सकाकु. सखारीटा सख्या सहिपता सति सत्काव्ये स दक्षिणापाग स देवः सद्यः सन्ति सन्मार्गालोकन स पातु वो यस्य जटा० स पातु वो यस्य शिखा. स पातु वो यस्य हता समम् समासरूपक समासव्याससंहब्धम् सम्यक संविधातु. संस्तम्भिनी सरलकर सरस्वती सरिताम् सर्गः प्रतिसंहारः १०४ ३० ० ० १०० ८९ 0 . २४ २५,८३ ० १०४ ३० स्थिते . १०९ ६७, ७६ ७४ ३९ २९ स्थूलावश्याय २१ नानाः ७३, ७४ स्फटिक० ९. स्फुटित स्मृत्वा ७५ स्रोतासि ४ खामी ३. खास्थ्यम् २८ हतत्विषोऽन्धाः ४२ १५ ४९ सर्व० १८

·२७५
श्लोकः
पृष्ठम् | नोकः
पृष्ठम्
९० हारो
१२
हिमवत्
९४
हरहास
हरोऽपि
हर्म्यम्
हलमगु
१०८ हिरण्य
.
३६
२४
८९ हृष्यति
५६ हे नागराज
८८
इलमपार०
हंस
३५ / हस्खैः
३०

·Index of Proper names occurring in the Kâvyamîmânisâ. श्लोकः पृष्ठम् अमरः अवन्तिसुन्दरी आचार्याः १ ५५ ५५ २२ १ आनन्दः आपराजितिः उक्तिगर्भः पृष्ठम् श्लोकः ५५ ध्रुवस्वामिनी २०, ४६, ५७ नन्दिकेश्वरः ३, ९, १३, १६, २०, पतञ्जलिः २३, ३०, ३५, ५०, ५१, परमेष्ठी. ५६, ५७, ५८,६१, ६२, पाणिनिः ७८, ९४, ९९. पाणिनीयाः १६ पाराशरः ४५ पाल्यकीर्तिः १ पिङ्गलः पुलस्त्यः १ प्रचेतायनः ५५ प्राचेतसः ६ बार्हस्पत्या. २२, ४४ भरतः १ भवानी ८, ९, १० १० भारविः मङ्गलः उतथ्यः .. १ १ ४ ११, १४, १६, २.. मानवाः १ मेण्ठः १४, ५, मेधाविरुद्रः १० यायावरीयः उपमन्युः उपवर्षः उशना आद्भटाः आपकायनः औमेयी औशनसा. कर्णः कामदेवः कालिदासः काव्यपुरुषः कुचमारः कुडुमेश्वरः कुबेरः कुमारदासः कुविन्दः. कौटिल्यः खसाधिपतिः गोनर्दीयः गौरी चन्द्रगुप्तः चित्रशिखः चित्रसुन्दरी चित्रासदः द्रोहिणिः द्वैपायनः धिषणः १२ २, ३, ४, १०, ११, १३, १४, १६, १७, २०, २३, २५, २६, २७, ३०, ३१, ३५, ४२, ४४, ४५, ४६, ५०,५१,५६, ५८,६१, ६२, ५३, ७८, ९०,९१, ९४,९९,१०० २ ३१ ४७ राजशेखरः २६ रुद्रटः रूपः ५५ वररुचिः ३९ वर्षः ६२ १४, २० ४० वाक्पतिराजः १ वामनीयाः २, ४२ / वाल्मीकिः ७, ५८ वासुदेवः १, ५ वैकुण्ठः १ ·२७७ पृष्ठम् । श्लोकः ५५ सातवाहनः श्लोकः व्याडिः शिशुनागः शुदकः पृष्ठम् ५०, ५५ १, ५, ६, ७, ८, १० ५०, ५५ ५० सारस्वतेयः शेषः ७ ७५ श्यामदेवः श्रीकण्ठः श्रीकेशवः श्रीशर्मगुप्तः सरखती ५५ साहसाः १ साहित्यविद्यावधूः ११, १३, १७ सुरानन्दः १ सुवर्णनाभः ७९ सूरः ४७ हरिचन्द्रः ५५ ९० ५, ६, १० / हर्षः १ हली० ५६ सहस्राक्षः ·Index of Geographical names occurring in the Kavyamimamsa. श्लोकः पृष्ठम् ८, ३४ पृष्ठम् श्लोकः ८, ९३ | काश्मीर ९४ किम्पुरुषवर्ष ८४, १०० कीर ८५ कुन्तल ९, ९४ कुमारीद्वीप ५१ कुमारीपुरम् कुलूत ९४ कुशद्वीप ९,३९,५०,६१, ९३ ९.२ , ९३ ९४ ९,९३, १०० ९३ कोकण ९३ अज अन्तर्वेदी अन्ध्र. अयोध्या अर्बुद अवन्ती अश्मक आनर्त आर्यावर्त इन्द्रकील इन्द्रद्वीप इरावती इलावृतवर्ष उज्जयिनी उत्कल उत्तरकोसल उत्तरा. कुरवः उत्तरापथ उत्पलावती ऋक्षपर्वत कच्छीय कपिशा करकण्ठ करतोया कर्णाटा: कलिङ्ग कलिन्द कसेरुमान् काच्ची कामरूप काम्बोज कार्तिकेयनगरम् कालप्रिय कावेर कावेरी ९३, ९४ ९२ ९२ ९३ ९४ कृष्णवेणा ९० केकय ९४ | केरल ९२ कोल्लगिरि ५०, ५५ कोसल ९३ ९६ ऋथकैशिक ९. क्रौञ्चद्वीप. ३४, ९४ | गङ्गा ९४ गन्धर्वः ९२ गभस्तिमान् गाग ९३ गाधिपुर ९४ गिरिनगर ९३ गोदावरी ३४ गोवर्धन ९, ९३ गोड ९४ चकोर ९२ चक्रवर्तिक्षेत्रम् ५३, ९६ चन्दनगिरि ९३ चन्द्रभागा ९४ चन्द्राचल ४७ चोड ९४ जम्बूद्वीपः ९३ जाह्नवी ९४, ११० टक्क ९४ ८, ३३, ३४, ५१ ९, १०, ९२ ९४,९९ ९३ ७१, ८५ ·२७९ श्लोकः श्लोकः पृष्ठम् ९३, ९७ ९४ पृष्ठम् ९४ पूर्वदेश पृथूदक ९२ प्रयाग १९,४५, ८०, ९४ प्राग्ज्योतिष ९३ लक्षद्वीपः ९३ ९४ बर्बर ३ तन्मण तापी ताम्रपर्ण ताम्रपर्णी ताम्रलिप्तक तुगभद्रा तुरुष्क तुषार तुषारगिरि तोसल त्रवण दक्षिणदेश दक्षिणापथ दण्डक दर्दुर दशपुर दशेरक देवसभ देविका द्रमिल द्रविड द्रोणाचल नर्मदा नागद्वीप नाशिक्य निषध नीलगिरिः नेपाल पयोप्णी पल्लव पश्चाद्देश पाञ्चाल पाटलिपुत्र पाण्ड्य पारियात्र पाल पुण्डू पुष्करद्वीपः ५१, ९४ बालवेय ९४ बाहीक ५, १० १० बिन्दुसर ९.२ १३ बृहद्गृह ब्रह्म ९७ ब्रह्मशिला ९.४ ९३ ब्रह्मोत्तर ९३ ९३ ब्राह्मणवाह ९.३ भादानक ५१, ८६ भारतवर्ष ९२ ९४ भृगुकच्छ ९.४ भैमरथी मगध ३३, ५०, ९३ ३९ मजर ३४ मध्यदेश मरु ६८, ९.४ मलद ९३ मलय ३९, ४५, ७७,८१,९२,९३, १०० ९३ महवर्तक ९२ महाराष्ट्र ९,९३ मही ३९, ९३ महेन्द्र ९.२, ९३ ९४ महोदय मालव ९.४ माल्यशिखर ८, ९, ३४ माहिपक ५५ माहिष्मती ९३ ५१, ९२ मुरल ९, ९३ मेकल ८, ९३ मेरु ८५,९१, ९१,९२ यमुना ८५, ९४ १ ९ ९० ·२८० पृष्ठम् श्लोकः ९४ यवन रनवती रमठ रम्यकवर्ष रावणगी ९० ९२ पृष्ठम् श्लोकः ९४ वोकाण ३९ शक ९४ शतद्रु ९२ शाल्मलद्वीपः ९४ शिप्रा १०० शुक्तिमान् ३४, ५१, १०९, ११० शूरसेन ९४ भगवान् शोण ९३ श्रीपर्वत ८ श्वभ्रवती ९४ श्वेतगिरिः ९. सरयू ९२ सरस्वती ८,५० ९३ ९३ लाट लिम्पाक लोहितगिरि लौहित्य वम बजुरा वत्सगुल्मम् वरुण वर्णा ९४ ९२ ९४ ८४ सहुड ८५, ९२, ९४, ९६ वल्लार ९४ ९३ सह्य ९४ सिन्धु ९४ सिंहल ९३ सुराष्ट्र ८, ९३ ९२ ९४ वहृव वाणायुज वानवासक वामनस्वामी वाराणसी वार्तनी वाल्हीक वाहीक वितस्ता विदर्भ विदेह विनशन विन्ध्य विपाशा विशाला वेणा वैदिश ३३, ९३ सूर्पारक ९४ सौम्य ९४ हंसमार्ग ८, ११० हरहूरव ९४ हरिवर्ष १०, ९३ हस्तिनापुर ९३ | हिडिंबा ९४ | हिमवान् ६८, ९२, ९३, ९४ | हिमालयः ९४ | हिरण्मयवर्ष ५९,८१, ९२, ९४, ९६ ९२ ९४, १०९ ५५ हूण ९४ हहुक ९.२ ९ हेमकूट ·APPENDIX I. Identification of geographical names occurring in the Kāvyamimamsā. 1. Anga 2. Antarvedi 3. Andhra 4. Ayodhiyū ... on 5. Arbuda ..The country lying between Bhagalpur and Monghyr. Its capital was Campäpuri which is now located within two miles west of Bhagalpur. . The tract of country surrounded by the Ganges in the north and the Yamunā in the south; and Vinaśana (or the place where Sarasvati disappears ) in the west and Prayāga in the east. .. The country lying between the river Godāvarī in the north and the Krşņā in the south. Pratişthiūnapura was its capital. .. Situated the river Sarayū in the United Provinces. ... Mount Abu in the Aravalli range now included in the Sirohi state of Rajputana. According to Rājasekhara the part of the country surrounding Mount Abu is also called Arbuda, because he makes Arbuda both a mountain and a Janapada. .. The country of which Ujjain was the capital. It is said to be the kingdom of Vikramāditya. ... Rājasekhara mentions this among the countries of South India. The Brahmāndapurāņa also places it in the southern India. But the Kūrmapurāņa and the Brhatsaṁhitā mention this country as a part of North India and locate it near the Punjab. The Dasakumāracarita, Harşacarita and Bhayțasyāmin-the commentator on the 6. Avanti 7. As'maka ... 36 ·282 APPENDIX I. Arthasāstra, include Aśmaka as a part of the Mahārāştra country. It appears, there fore, that Asmaka was situated between the Godāvar. and Mahişmati, and formed part of Vidarbha. 8. Anarta ... Includes northern Gujarat and portions of the Malwa country; its capital was Anarttapura, afterwards called Anandapura, the modern Vadnagar. 9. Āryāvartta ... The northern part of India lying between the Himālayas in the north and the Vindhya range in the south; and between the eastern and western oceans. 10. lavati ... This may be identified with the river Ravi on the banks of which Laliore is situated. Some scholais identify this with the river Rapti in Oudh, but this does not seem to be roi rect, since Rājasekhara locates the liver in the northern India. 11. IliTvrtavarsa ...The country sui rounding the Mahāmeru, or the mountain situated in the middle of the Jambūdvīpa. The Meru is said to have thiee Varşas in the north and three more in the south. Among the six, the Bhāratavarşa is regarded as the third to the south, 12. Inilrakāla ... One of the peaks in the interior of the Himālayas. 13. Indradvipa ... One of the nine parts of the Bhāratavarşa. The division of Bhāratavarşa in nine parts occurs in the Purānas, as well as in the Kāvyamīmāṁsā which depends for its information on the Purāņas with regard to this topic. Some scholars are inclined to identify this with Burma as it is situated in the east, the direction of Indra. 14. Ujjaini ... Modern Ujjain.

·APPENDIX İ. 283 15. Utkala Orissa or the northern part of the Kalinga country. The river Vaitaraņi forms its northern boundary. 16. Uttarakos'ala... The kingdom of Oudh had two divisions, Uttarakośala and Kośala. Ayodhyā and Kušāvatî were the capitals of the two Košalas. 17. Uttarakuru ... The Purāṇas consider this to be a Varşa surrounding the Varşa Parvata S'ộngavān which is the third mountain range from the Mahāmeru in the north. Rājasekhara follows the same view. According to the Rāmāyaṇa and the Mahābhārata, Tibet and eastern Turkistan were included in the Uttarakuru. 18. Uttarcipatha ... The country to the north of Prthūdaka (or Peloa in the Karnal district of Punjab on the river Sarasvati) is called Uttarapatha. Pșthūdaka is fourteen miles to the west of Thāneśvara. 19. Utpalavati ... This is a river in the Tinnevelly district in the southern India. The river runs parallel to the Tūmraparņī. 20. Rkşaparvata ... This is one of the Kulaparvatas of the Kumārīdvīpa or India. This inountain forms part of the eastern range of the Vindhyas extending from the the bay of Bengal to the source of the Narmadā. 21. K'acchiya ...Cutch. It was known also Maru- Kaccha in the Brhatsamhitā. 22. Kapis'a ... The river Suvarnarekhā in Singbhum and Orissa. ( scc Raghuvamsa IV.38). The source of the river is said to be the Rkşaparvata. 23. Karakantha ... One of the countries in the Uttarāpatha. be identified with the valley of Karakoram, As Karachi is situated in as It may ·284 APPENDIX I. the western India, its identification with Karakantha will be hazardous. But the Kārāpatha or Karabagh as it is now called, on the right or the west bank of the Indus at the foot of the salt range locally called Nili hill in the Bannu district may, however, be identified as an alternative with the Karakantha of Rājasekhara. 24. k'aratoyā ... A sacred river flowing through the districts of Rangpur, Dirajpur and Bogra in Bengal and joining the river Brahmaputra near the Gangetic delta. 25. Karnātas ... People living in the Karņātadeśa which includes the Mysore state, Coorg and part of the Ceded districts. 20. Kulinga ... The northern Circars, a country lying between Orissa in the north and Andhra in the south and bordering on the scu. Rājasekhara includes this amongst the countries situated in the southern and the eastern India. 27. Krilinda ... ...A part of the Himālayas known by this It is the source of the river Yamunā which is called Kālindi in consequence. 28. K'userumān ... One of the nine parts of the Bhäratavarşa. This division is referred to in the Purāņas and in the Kāvyamīmāṁsā. It is identified by some with Singapore in the Malaya States. (see Cunningham's A. G. Notes name. p. 752). 29. Kāñci ... Kāñcīpura or Conjeevaram, the capital of the Dravida or the Cola country on the river Pālār. It is situated at a distance of forty three miles south west of Madras. ...Assam. Rājasekhara mentions Kāmarüpa as one of the mountains situated in the eastern part of India but not as a Janapada. 80. Kamarupa ·APPENDIX I. 285 mora. Prāgjyotişapura was the capital of Kámarūpa. (see Raghuvamsa IV. 83-84). Very probably this Kämarūpaparvata represents tho Nila hill hill or Nilakūtaparvata where the temple of the celebrated Kāmākhyādevī is situated. 31. Kāmboja... ... Afghanistan, or at least its northern part. Rajasekhara mentions this among the countries in the Uttarāpatha. According to the Raghuvamsa (IV. 68-69) this country is situated between the river Oxus and the Himalayas. (see Hūņa). 32. Kārtikeyanegara Baijanātha or Vaidyanātha in the district of Kumaun about eighty miles from Al- (see notes p. 194). 33. Kalapriya ... Kālapriyanātha is the name of the Mahādeva worshipped in a temple situated in the southern part of the city Kānyakubja or Kanauj. This Kālapriyanātha is mentioned in the dramas of Bhavabhūti who was a court-poet of king Yaśovarman of Kanauj. (see notes p. 243). 34. kiil'creo ... Some districts of the Dravidadeśa on the banks of the Kāveri, and especially the delta of the river. 35. k'üvcri ... River Kāverī in the southern India which rises from a spring called the Candratirtha on the Brahmagiri mountain in Coorg. 36. Küs'mira... ... Kashmir. 37. k'impuruşararṣa This Varșa is situated immediately to the north of the Himālayas encircling the Heinakūţa Parvata. This is the second Varşa from the Mahāmeru on the southern side. Mr. Nandolal Dey identifies this Varșa with Nepāl, but this is against the statement of Rājasekhara. Nepal is men. tioned by him in the eastern part of the Bhāratavarşa, while he places the Kimpu- .

·286 APPENDIX 1. ruşavarşa to the north of the Himālayas. Some scholars are inclined to identify this Varşa with Tibet which seems to be more probable. 98. Kira ... Baijnātha or Kiragrāma in the Punjab. This may also be identified as the country round about the Kirthar range in North-West India beyond Sindh. But Rājasekhara includes this amongst the countries of the Uttarāpatka. It is, therefore, possible to locate this country in South Afghanistan to the north of the Kirthar iange. One "Sāhi' is said to have been the king of Kira country (Epi. Ind. Vol. I. p. 122 ) who is identified as a ruler of Afghanistan and the Punjab during 9th and 10th centuries A. D. For further imformation about Kīras (see IHQ. Vol. IX. No. 1). 39. Kutala ...Rājasekhara locates Kuntala in the southern India and Sātavāhanas are mentioned as the rulers of the country. The tract of country between the two rivers Godāvarī and Krşņā is the country of the Kuntalas, and sometimes a portion of Karņāțaka as also of Vidarbha are included in this country. 40. kumcīridvipa ... One of the nine parts of the Bhāratavarşa. According to Rājasekhara's conception, this Dvīpa seems to represent India, situated between the Himālayas in the north and the Cape Comorin in the south, because he mentions the seven Kulaparvatas such as Vindhya, Pāriyātra, etc. as situated in the Kumarīdvīpa. (see p. 92). 41. Kumāripuram Cape Comorin, also known as Kanyakumārī, 42. Kuluta This country is situated in the northern India or Uttarāpatha. This is undoubtedly ·APPENDIX I. 287 43. the modern Kulu in the Kangra district in the upper valley of the Bias in the Punjab. The kingdom of Kia-lu-to is placed by Hiuen Thsang at 700 li or 117 miles to the north-east of Jalandhar, which corresponds exactly with the present position of the Kulu. Its old capital was at Nagarkot, while Sultanpur or Sthanpur is its present headquarters. Kus'advipa ... One of the seven Dvīpas of the world, and this is said to be surrounded by the Sarpis-samudra. 44. Kulit ...A. river in the Uttarāpatha. This is very probably the same as the Kabul river which is also known as the Kubhā in the Vedas or Kophes of the Greeks. This is an affluent of the river Indus and rises at the foot of Kohi Baba. 45. Krşnare nii ...The Krşņā. This is also called the Krşņaveņā at the point where it is united with the river Veņā. The river flows through the Dakşiņāpatha or the southern India. 46. Kekaya ... The country lying between the Bias and the Sutlej in the Punjab. 47. Kerala The Malabar coast or the Cera country comprising Malabar, Travancore and Cochin states. 48. Kollagiri... ...Coorg which is now included in the Mysore state. The river Kāverī rises from this place. It is also known as Kolagiri or Kodagu. 49. Kos'ala ... The southern part of the kingdom of Oudh. Kośala was divided into two kingdoms called Uttarakośala and Kośala. Ayodhyā and Kuśāvati were the capitals of these two divisions respectively. 50. Kaurkana ...Same as the country known as Parasurāmakşetra. This is the tract of land ·288 APPENDIX I. lying between the western Ghats and the Arabian sea. Kálidāsa names this country as Aparānta (Raghuvamsa IV. 58). 51. Krathakaisika The country of Vidarbha is called the land of Krathakaisikas (Raghuvamśa V.39-40). But Rājasekhara mentions these two countries separately in the Dakşiņāpatha. According to the Mahābhārata, a Vidarbha king had two sons Kratha and Kaisika, and after their names the country was known as Krathakais'ika (see Sabhā. ch. 13). Rājasekhara very probably means that Krathakais'ıka was only a part of the Vidarbha country. 52. Krauñcadvipa One of the seven Dvīpas of the world. It is said to be encircled by the Dadhi ocean. 53. Ganga ... The river Ganges. Rājaſekhara mentions Gangā in the list of rivers of the northern and western India, probably because the Ganges flows through both. 54. Gandharva ... One of the nine parts of the Bhāratavarşa. In some Purāņas, it is also mentioned as Gandharva. On the authority of chapters cxiii, 10-11 and cxiv 11. of the Uttarakāņda of the Rāmāyaṇa, some scholars, identify this part as the country of Gāndhāra or the valley of the Kabul, with a small tract of land to the east ef the Indus. (see Cunningham's A. G. Notes. p. 752). 55. Gabhastimiin ... One of the nine parts of the Bhāratavarşa. Some scholars locate this part in the southwest of India following the order of the nine parts mentioned in the Purāṇas and the Kāvyamimāṁsā. (see Cunningham's A. G. Notes p. 752). 56. Ganga ... This country is located in the Dakşiņāpatha. This may be identified as the Kongu country of the southern India ·APPENDIX I. 289 which comprises the districts of Coimbatore and Salem. The name Gānga or Kongu seems to have been derived from the name of the dynasty of the Western Gangas who ruled over the south of Mysore with Salem, Coimbatore, the Nilgiris and parts of Malabar, from the 2nd to the 9th century A. D. Evidently, therefore, it should not be identified, as some scholars have done, with the Rādha country and Saptagrāma which form part of South Bengal and which is also known as Gānge or Gānga according to Ptolemy and Harihara and Belur inscriptions (Rice's Mysore Inscriptions pp. 70,222). The Kalinga country which was also ruled over by the Eastern Gänga dynasty during the 7th century A. D. cannot be taken to represent the Gānga country mentioned here by Rājasekhara, as he had already included Kalinga, or the districts of Ganjam and Vizag. amongst the eastern countries of India. 57. Gādhipura ... According to the Bālarāmāyaṇa, (X 88) Gādhipura is another name of the city of Kānauj, while Kāvyamīmāṁsā takes it to be a suburb of Kanauj, and as situated the northern side of the city. (see on p. 243). 58. Girinagara ...Girnar. Rājasekhara places this hill in the western India, and this has been identified with the well-known Girnar hills situated at a small distance from the town of Junagadh in Kathiawar. This is now presumed to be the Raivatakagiri of the Purāņas. 69. Godavari ...A river in South India. Its source bas been traced to the Brahmagiri situated on 87 ·290 APPENDIX I. the side of a village called Tryambak, twenty miles away from Nasik; the river flows eastward to the bay of Bengal. 60, Govardhana ...Mount Govardhana eighteen miles from Bạndāvana in the district of Mathura. 61. Gauda ...According to Rājasekhara, the Gaudas are à people inhabiting the whole tract of country lying between Benares and the bay of Bengal. According to him the word Gauda is not the name of any particular country. He describes the costume of the Gauda ladies and mentions the fondness of the Gaudas for the Sanskrit language. Mr. N. L. Dey, however, thinks that the whole of Bengal is known as the Gauda country with its capital at Gaud, the ruins of which have been discovered near Malda in Bengal at a distance of about ten miles. Ile also thinks that the kings of the Pāla and Sena dynasties made this city of Gaud their capital on several occasions. This city was also known as Lakşmaņāvati or Lakhnauti after the name of King Lakşmanasena of the Sena dynasty of Bengal. 62, Cakora ...A mountain in the eastern India according to the Kāvyamīmāṁsā. It may be identified as Caraņādri or Cunar, the hill-fort in the district of Mirzapur, which was built by the Pāla Kings. 63. Cakravartiksetra Rājasekhara designates the whole country of India from Cape Comorin in the south to the Bindusaras in the Himalayas in the north, as the Cakravartikşetra. This land consists of 1000 Yojanas. One who conquers and rules over the whole of this land is called a Cakravartin. This seems to be the same as the Kumārīdvipa, one of the ·APPRNDIX I. 291 nine parts of the Bhāratavarga. The Purāṇas as well as Rājasekhara usa the word Bhāratavarşa in a wider sense, so as to include Greater India, that is to say, India proper along with her eight colonies, Indradvīpa, etc. These colonies are bounded by the southern sea or the Indian ocean and the Himālayan range and are separated from one another by oceans. 64. Candanagiri ... Malayagiri or the southern portion of the western Ghats. Rājasekhara mentions that Rāmasetu was built in continuation of the Candanagiri. (see Bālarāmāyaṇa, VII. 45.) 65. Candrabhāgū... The river Chenab, a tributary of the river Indus. Rājasekhara places this river in the Uttarapatha. ᏣᏮ. Candıūcala ...A peak of the llimālayas wherefrom the river Candrabhāgā riscs. This is also called Candrabhāgā in the Purāņas. The Candragiri, the sacred place to the Jains which is situated near Seringapatam is apparently different from this, since Rājasekhara locates this mountain in the northern India. . 67. Coda ... ... Rājasekhara’s Cođa country is represented by the districts of Tanjore and south Arcot in the Madras Presidency, because the other parts of the Cola country are given different names, such as, Kāñchi and Kāvera. 68. Jambūdvipa ...One of the seven Dvipas of the world, situated in the middle, with three Dvīpas on both sides. The mountain Mahāmeru is situated in the middle of the Jambūdvīpa and this Dvipa may be identified with the Asia of the present day. Jambúdvipa, according to the Purāņas and in the opinion of Rājasekhara, consists of seven ·292 APPENDIX I. 69. Vargas or parts and seven mountains. The Bhäratavarşa is the southern-most Varşa or country in the Jambūdvīpa and includes within its boundary the mighty Himālayas. For other Dvīpas, Vargas and mountains, see pp. 90-92 of the text. Jänhavi ... The river Ganges. 70. Takka ... The country lying between the two rivers, the Vipāśā and the Sindhu. It was the country of Vāhikas or Takkas. S'akala was the capital of the Takkadeśa which included the Madra and Āratta countries. The Rājntarangini locates this country on the banks of the Chenab or Candrabhāgā. According to Rajasekhara the people of this country used to talk in a language which had an admixture of Apabhramśa. 71. Tangana... ...According to Rājasekhara, this is a country in the Uttarāpatha. Mr. N. L. Dey identifies this as the land extending from the Rāmgangā river to the upper Sarayu. 72. Tāpi ... The river Tapati or Taptī. It rises from the Vindhyas and falls into the Arabian sea near Surat. 73. Tāmraparna ...One of the nine parts of the Bhāratavarşa, It is identified with Ceylon. 74. Tāmraparņi ... The river Tāmraparņi which rises from the Agastikūta on the Malaya hills and flows through the district of Tinnevelly in the Madras Presidency. 75. Tāmraliptaka... Tamluk, situated on the western bank of the Rūpnārāyaṇa in the district of Midnapur in Bengal. 76. Tungabhadra ... A tributary of the Krşņā river. Kişkindha is said to be situated on the banks of this river.

·APPENDIX I. 298 77. Turuska .... ... Eastern Turkistan. It is mentioned by Rājasekhara in the groups of countries included in the northern India. ... 78. Tusara ...Rājasekhara located this country in the northern India. According to Dr. Stein, the upper Oxus valley, including Balkh and Badakshan was called Tukhāra or Tuşāra. (Rājatarangiņi, Vol. I., p. 136). 79. Tusāragiri, ...A peak of the Himālayas near Gangotri. Rājasekhara states that Sarasvati got a son Sārasvateya Kāvyapuruşa here who was later, married to the daughter of Gauri at this place. 80. Tosala It is identified with Dakşiņakośala, as Tosali is mentioned in the Asoka inscription at Dhauli. Rājaśokhara includes this country among the eastern countries of India. 81. Travaņa... .. This country is located in the western India. Rājasekhara informs us that the people in Surāştra and Travana countries could speak Sanskrit fluently with an Apabhramsa accent. 82. Daksinacles'a ... Southern India bounded by the Narmadā in the north and the Cape Comorin in the south. 83. Daksiņāpatha Same as Dakşiņadeśa. According to Rājasekhara this represents the portion of the Indian peninsula lying to the south of the Māhişmati. 84. Dandaka ... It is difficult to identify this with Daņdakāvana of the Rāmāyaṇa, since Rājasekhara mentions Mahārāşțra, etc. comprising the real Daņdakāraṇya according to modern conceptions, as separate countries. Thus, Tondaimaņdala or Diņdiyanam, which is situated in South ·294 APPENDIX I. India between the countries of Kāñchi, may be identified with ďaka of Rājaſekhara. 85. Dardura... ... Kālidāsa mentions in his Raghuv. both the mountains of Malaya and are situated in close proximity i thern-most part of India near Tā (IV. 50-51 ). Mount Dardura, be with little difficulty identified Nilgiris in the Madras Presidenc since Rājasekhara locates the Dar in the eastern India, it ought to fied with the Deogarh peak in th part of the Vindhyas. 86. Das'apura 87. Dās'eraka Devasalha 88. ...Mandasor in Malwa. It is local as Dasoi e from which the Dasora. derive their names. ...Malwa. ...Rājasekhara locates Devasabbā in tern India and from this point ons whole of the western part of Indi. dered by him to be the पश्चाद्देश. Der also the name of a mountain in th India, and as such this may be with the mountainous parts of Dewas state or Udaipur whero th lake is situated. The rivers and Şabarmati rise from these p Udaipur and flow through the west Kautilya in his Arthasāstra (p. tions a variety of sandal as 49 'this, he very probably means hills or the country of the sa देवसभा mentioned by Rājasekhara cellent sandal wood may be obtair. e 89. Devika ...It is a river in the northern Ir ·APPENDIX I. 295 are may be identified with the present river the Deeg, which is a tributary of the Ravi. 90. Dramila ... ... Same as Dravida. 91. Dravida ... ..The words Dramila and Dravida mentioned by Rājasekhara to denote the inhabitants of the southern India, and not the name of the country. The use of these words is the same as in the case of the word Gauda, 92. Droņácala ... The Doonagiri mountain in Kumaun. 93. Narmadā ... Rājasekhara includes this amongst the rivers of South India. It rises from the Amrakanțaka hills in the Vindhya range, and flows into the gulf of Cambay. 94. Nagadvipa ... One of the nine parts of the Bhāratavarşa. It may be placed in the western part of India if we are to take into account the sequence of the nine parts mentioned in the Purāņas. 95. Násikya ... Nasik. Same as Pancayați. 96. Nişadha... ... This is mentioned as a mountain in the Jambūdvīpa or Asia, and as situated inmediately to the south of the Mahāmeru, It is said to be the principal mountain of the Harivarşa in the same way as the Himālayas may be called the principal mountain of the Bhāratavarsa. It is identified with Hindukush by Mr. N. L. Dey. 97. Nilagiri ... ...One of the Varsa mountains of Jambūdvipa or Asia. Ramyakavarşa is attached to this, and the position of the mountain is immediately to the north of the Mahāmeru, 98. Nepāla ...Nepal. Rājasekhara includes this in the list of the mountains and also of the countries in the eastern India.

·296 APPENDIX I. 99. Payognt 100. Pallava .. ... A river in the southern India and may be identified with the Pūrņā, a tributary to the river Tāpī. ... This name often denotes a dynasty which ruled over the southern India from the 5th to the 9th century A. D. with the capital at Kāñchi. The country surrounding Kāñchi very probably was known as the Pallava country after its rulers, because Kāfichi is mentioned by Rājasekhara as a separate country in the southern India. 101. Pas'căddes'a Western India. This comprises Sindh, Western Rajputana, Cutch, Gujarat and a portion of the adjoining coast on the lower course of the Narmadā. Devasabhā is mentioned as its castern boundary. 102. Pāñcāla .. ... The Pāñcāla country is located in the Central India or Madhyadeśa which is extended from the foot of Himālayas to the Yamunā and between Vinaśana and Prayāga. It is divided into north and south Pāñcālas with Ahiccatra and Kampilya as their respective capitals. The two portions of the Pāñcāla country are separated by the river Ganges. According to Rājaśckhara, however, the Pāñcālas of Antarvedi (see No. 2) were highly civilized and their capital was at Kanauj, On page 8 of this work he used the word Pāñcāla to denote the country comprising the whole of the northern and central India. 103. Pāđaliputro ... Patna, the capital of Magadha. 104. Pāndya ... ... The modera districts of Tinnevolly and Madura in the Madras Presidency. Kālidāsa mentions Uragapura as the capital of the Pandya king (Raghuvamsa. VI. 59-60).

·APPENDIX I. 297 This may, thereforo, be identified with modern Nāgarkoil instead of Urayūr in the Trichinopoly district. 105. Pāriyatra ... One of the Kulaparvatas in the Kumārídvīpa. This may be identified with the north-western part of the Vindhya range extending right upto the gulf of Cambay. 106. Pala ... The words Pāla and Mañjara occur in two places in this work, and in both the places they appear joined together, and are said to be the Janapadas as well as mountains situated in the Dakşiņāpatba. These two, therefore, may be taken as be taken as one word and identificd with Pál near Mahād. The author of the Periplus mentions Palaipatmai as a sea-port in the Deccan and this is identified by Dr. R. G. Bhandarkar with Pāl near Mahāų (see Bhandarkar's History of the Deccan. VIII.). It is quite possible that Rājasekhara's Pālamañjara represents the same place. But this word certainly does not denote the Pāla dynasty of Bengal since Rājasekhara locates this Pāla in the southern India. An alternative identification of this obscure word may also be offered. The Janapada Pālamaạjara may represent the Palaesimundus (of the Greeks) mentioned in the Periplus. It is commonly identified with Pārasamudra and is supposed to have been the capital of Ceylon. (sco Mr. N. L. Dey's Geo. Dictionary). 107. Pundra Puņdravardhana. The district of Malda in East Bengal. 108. Puskaradvīpa One of the seven Dvīpas of the world. Jambūdvipa is situated in the middle, while the Puşkara is the third from Jambũ. 109. Pürvades'a ... Eastern India. This portion lies to the 38 ·298 APPENDIX I. same. east. of Benares and includes within it Assam and Burma. 110. Prthüdaka ... Pehoa in the Karnal district of the Punjab on the river Sarasvati. Rājasekhara mentions that the Uttarāpatha or the northern India is to be considered as the country lying beyond Pșthūdaka. Modern Pehoa is on the northern side of the Sarasvati and is fourteen miles to the west of Thanesvar. 111. Prayāga ... ... Allahabad. This is the eastern boundary of the Madhyadeśa or Central India which is bounded by the Himālayas, the Vindhyas and the Vinaśana. 112. Prügjyotisa ... Kāmarūpa or Kāmākhyā in Assam. According to Kālidāsa (Raghuvamśa. IV. 83-84) Prāgjyotişu and Kāmarūpa are the Rājasekhara mentions Kāmarūpa as one of the mountains in the castern India. (see Kāmarūpa). 113. Plaksadvipa ...One of the seven Dvīpas constituting the world. This is the first Dvīpa from the Jambū which is in the middle of the earth. 114. Barbara ... ... It is mentioned as one of the countries in the northern India. The Purāņas also locate this country in the north or in the northwestern provinces. Ptolemy and the author of the Periplus mention the Barbari and Barbarike as an emporium in India, and Cunningham identifies this with Bhambūra (seo Cunningham's A. G. p. 339.) on the bank of Sindhu. The country of Barbara is said to be a famous place for sandal-wood which was known as Barbarikacandana. (Ibid. Notes, p. 695). Thus, the country of the Barbaras may be identified with the Barbari, Barbarike, or Barbaricum which is situated in the north-west province on the bank of the river Indus on its western ·APPENDIX I. 299 course. In this connection, it is worthy of note that since Rājasekhara places this country in the exact north, the northern part of Baluchistan may also be taken as the Barbara country. 115. Ballaveya ...Rājasekhara locates this country in tho northern India. This may be the same as Bhāția near Multan. Native historians and the early Arab geographers mention Bhātia as a strong fortress near Multan on the Indus. Cunningham also mentions it as Bhātia or Bāhiya or Būhatiya and locates it between Multan and Alor or Aror. (see Cunningham's A. G. P. 294 and Map, ix. ). 116. Balhika ... Seo Vāhika. 117. Binclusaras ...A sacred spot in the Himālayas two miles south of Gangotri, (see Cakravartikşetra). 118. Byloaderha ...Rājasekhara calls it a mountain in the eastern India. This may represent the mount Everest in the eastern range of the Himālayas. 119. Bralima ... ...A country in the eastern India. This is prosumably the modern Burma including the upper and lower portions. 120. Brahnaas'ila ... Brahmaśilā formed the eastern boundary of the city of Kanauj ( see Notes p. 244). 121. Brahmottara ... A. country in the eastern India. The northern portion of the Brahma country or the Upper Burma. It may be noted that the Brahma country included both the upper and lower Burma. 122. Brāhmanaväha Rājasekhara mentions this as one of the countries in the western India. Cunningham identifies this as the city of Brāhmaņa captured by Alexander, and called by the ·900 APPENDIX I. Greek historians as Harmatalia, a corrupt or foreign pronunciation of the Sanskrit word Brāhmaṇasthala. Brāhmaṇaváha seems to be the Hindu name of the city which the Muhamadans afterwards called Brahmanābād. It was situated on the eastern reaches of the river Indus. Its present position seems to be in the neighbourhood of Hala in Sindh at two-thirds of the distance from Multan to the mouth of the Indus and it lies parallel to Hala. Here, the ruins of a large city have been excavated recently, where various prehistoric remains have been discovered. This ruined city lies at a distance of 47 miles to the north-east of Hyderabad, and 28 miles north-east of Hala. The place is now known as Bambhraka-thul or the Ruined Tower' and this name is derived from a broken brick tower which is the only building now standing. It was doubtedly one of the oldest cities in India; the historian Bilādhura writing a thousand years ago calls it "Brāhmaṇābūd-al atiqah or Brāhmaṇābād the ancient. (see Cunninghan's A. G. pp. 306-318; Map. ix., and Ibid. Notes p. 691). 123. Bhadūnaka ..Rājasekhara does not give its exact location but mentions that the people of Bhādānaka talked a language which had an admixture of Apabhramśa like the people of Maru and the Takkas. Bhādānaka, therefore, appears to be the same as the Bhādiya or Bhādiyanagara of the Pāli books. Mr. N. L. Dey identifies this Bhādiya with Bhadaria eight miles to the south of Bhagalpur in Bihar. Mahāvīra, the last Jain Tirthařkara is said to have visited this ·APPENDIX I. 801 124. place. But this identification is open to objection since Rājasekhara mentions Bhādānaka along with Takka and Maru countries, which are situated in North India. Bhādānaka, therefore, may be the same as Bhāțadhāna, a country mentioned in the Mahābhārata (Sabhā. ch. 32.) as situated in the northern India. It may be located somewhere between the river Šatadru and Vinasana. (see Pargitar's map. J. R. A, S. 1908). Bhāratavarşa This is one of the Varşas in the Jambūdvipa or Asia with the Himālayas as tho Varşaparvata. The Himālayas is the third mountain on the southern side of the Mahāmeru which is situated exactly in the middle of the Jambūdvīpa. The Bhāratavarşa again is divided into nine parts. India is one of them, and is called the Kumārīdvīpa. 125. Bhrgukacca ... Broach and its surrounding parts. 126. Bhaimarathi ... The river Bhimă in the Dakşiņāpatha which joins with the Krşņā. 127. Magadha .. The province of Bihar or South Bihar. 128. Mañjara... ... See Pala. 129. Madhyadesa ... The country bounded by the river Sarasvati in Kurukşetra, Allahabad, the Himālayas and the Vindhyas. 130. Maru .Rājaputana or Marwar. 131. Malada ...A portion of the district of Shahabad in Bihar. Rājasekhara mentions this as one of the eastern countries. 132, Malaya ...The southern ranges of the western Ghats lying south of the river Kāverī.

·302 APPENDIX I. part of 133. Mallavartaka... Rājasekhara mentions this among the eastern countries. This, therefore, cannot be identified with either Malladesa or Multan, or Malava or the country inhabited by the Mallois of the Greek historians, since we have to seek for its identification a country situated in the eastern India. It is, therefore, probable that the Mallavartaka represents the country in which Mallaparvata or Pārsvanātha hills are situated, namely the portion now forming the districts of Hazaribagh and Manbhum in the province of Bihar and Orissa, 134. Mahārāsgra ... The Marāthă country or the country watered by the upper Godāvari, or the land lying between this river and the Krşņā. This was also called Dandakāranya in ancient days. (see Ramāyaṇa, Āranya, ch. I, and Bhandarkar's Hist, of Deccan. II.). 135. Mahi ... The river Mahi which springs in Malava and falls into the gulf of Cambay. 136. Mahendra ... Rājasekhara mentions Mahendra among the mountains of South India. According to Kālidāsa(Raghuvamsa, iv, 39-40)Mahendra is situated in the Kalinga country. But Rājasekhara includes Kalinga both in the group of eastern as well as southern countries. It, thus, appears probable that Mahendragiri near Ganjam was the northern boundary of the Kalinga country. 137. Mahodaya ..Kanauj or Kānyakubja. 138. Miilava ...Malwa or Avanti. Its capital was Ujjayini. 139. Mālyas'ikhara Rājasekhara mentions this as a mountain in the western India. It cannot, therefore, be identified with mount Mālyavān supposed to be situated near Kişkindhā in ·APPENDIX I. 303 seems South India. According to the Rāmāyaṇa, Rāma stayed on this mountain at the request of Sugrīva during the rainy scason. Mālyaśikhara of Rājasekhara, therefore, to be different from the mount Mālyavān of the Rāmāyana, and its identification may be sought for in the Vindhya range, as a peak near about the Malava country on the west. ... This is a country on the lower Narmadā with Mābişmati as its capital. o 140. Māhisaka 141. Māhismati ... Maheśvara or Mahesh on the right bank of the Narmadā forty iniles to the south of Indoro. From this city onwards to the south, begins the Dakşināpatha of Rājasekhara. 142. Mulgara ... The country of Mudgara is identified with Monghyr in Bihar. Rājasekhara locates this in the eastern India. 143. Durala ... Rājasekhara locates this country in South India and characterises the complexion of the ladies of this country as black. It cannot be identified with Kerala, as Kerala is mentioned separately by him. Muralā is the name of a river in South India and it is different from the Narmadā. Kalidāsa mentions (Raghuvamsa. iv. 53-55) the river Muralā as flowing near the Sahya mountain and the Aparāntadeśa. The land lying between Kerala and Aparāntaka near Sahya on the Muralā may, therefore, be taken to be the present equivalent of the Murala country. The country of Murala may, therefore, be identified with the country of Miraj through which the river Mülamuthā or Muralā flows and joins as a tributary with the river Bhīmā.

·304 APPENDIX I. 144. Mekala ... It is a part of the Vindhya range called Amarakanțaka wherefrom the river Narmadā rises. This fact accounts for its name Mekalakanyakā. ...Mahāmeru, or the mountain situated in the middle of the Jambūdvīpa. It is encircled by the Ilāvſtavarşa. ...The river Jumna. 145. Meru 146. Yamunā ... 147. Yavana 148. Ratnavati ... Rājasekhura locates the Yavana country in the western India. It is well known that the Yavanas were foreigners and they were originally living in countries beyond the Indus. Kālidāsa mentions in his Mālavikāgnimitra that the Yavanas were ruling in the western bank of the river Sindhu. Very probably, the south-eastern part of Baluchistan may represent the Yavana country as mentioned by Rājasekhara and not Girnar, Saurāştra, etc. since they are mentioned by him separately. ...A city on the southorn ranges of the Malaya mountain. This country is situated according to Rājasekhara in the northern India. (see Bălabhārata 1. 7.). This may represent the country parts near the Raumaka mountain. (see Cunningham's A. G. map vi.) The Vişņu-Purāņa mentions Rāmas along with the Hūnas, Sālvas, S'ākalas and others in the northern India. These Rāmas may belong to a foreign tribe and may be identified with the people living at Aornos or tho ruined fortress of Ranigat according to Cunningham's A. G. pp. 67-84. In that case, it is also probable that Ramatha of Rājasekhara may represent the Rāma tribe of the Vişnu Purāņa. 149. Ramatha ·APPENDIX 1. 305 150. Ramyakavarso This is the first Varşa to the north of the Mahameru which is situated in the middle of the Jambūdvipa. Mount Nīla forms the principal mountain of this Varşa. 151. Rāvanagangă According to Rājasekhara, this is a river in South India. It is difficult to identify this river, but it is likely that it was situated in Ceylon or the Lankā of Rāvana. The Rāvaņahrada situated in the Himālayas with an image of Rāvana on its bank seems, however, to be different from this Rāvanagangā. 152. Lanka This Lankā seems to be situated in the southern-most parts of the Indian peninsula, as an island somewhere in the Indian occan. The description of this island in the Rāmāyaṇa as well as in the Kävyamīmārsū and tho Bãlarāmāyaṇa, does not favour its identification with Ceylon or Simhala. In the Rāmāyaṇa, it is stated that the river Tâmraparņi has to be crossed in order to reach Laikā, but this river does not lead to Ceylon. In the Kāvyamimāṁsā, it is said that the monsoon current starts from Laukā and reaches the Kerala country immediately after. This will not be possible should Ceylon be identified with Lankā. In the Bälarāmāyaṇa also, while describing the returning journey of Rāma on the Puşpaka chariot towards Ayodhyä, Rājasekhara mentions Lankā and its surrounding places first, then in succession the ocean, the bridge or the Setu and the Simhala island. He also states that Rāma and others espied Simhala when the Vimāna deviated from the original path in a different direction. cf. तिर्यग्विमानगतिनाटितकेन विभीषणः-पश्यस्यग्रे जलधिपरिखं मण्डलं सिमलानाम् etc. It is clear from this sta- 39 ·806 APPENDIX I. tement that according to Rājasekhara the island of Lankā is situated on the western side of the peninsula beyond Travancore, while Simhala or Ceylon is on the eastern side of it. The identification thus seems to be improbable. 153. Lata ... Southern Gujarat including Khandesh or the tract of territory situated between the river Mahi and the lower Narmadā. According to the Kávyamīmāmsā, the Lātas talked in Prākṣta language and hated Sanskrit. According to the Bālarāmāyaṇa, also, Lāța is situated in the western India to the north of the lower Narmadā. 154. Limpaha... Rājasekhara places this country in North India. Cunningham identifies ( A.G.p. 49) this with the Lapo of Hiuen Thsang and Lambatoe of Ptolemy or the present Lainghan which is a small tract of country lying along the northern bank of the Kabul river and bounded on the west and east by Alingar and Kunar rivers and on the north by the snowy mountains. 155. Lohitagiri ... One of the mountains of the eastern India. This perhaps represents the eastern range of the Himālayas through which the river Lauhitya or Brahmaputra flows. 156. Luuhitya ... The river Brahmaputra. 157. Vanga The name Vanga is only applied to the eastern portion of the delta of the Ganges on the coast of the bay of Bengal. 158. Vañjurā ... ...Known also as Bañjulā or Mañjulā, a tributary of the Godāvarī. The Sahyapāda mountain or western Ghats is said to be the source of the two rivers. 159. Vatsagulma ... According to Rājasekhara's conception Vatsagulma is a city in the country of Vidarbha (see also Karpūramañjarī I.) ...

·APPENDIX I. 307 This may be identified with the Vaṁsagulma of the Mahābhārata and from this place the river Narmadă rises. In that case, this would be situated in the Vidarbha country. Vātsyāyana in his Kāmasutra mentions one Vatsagulmaka as different from the Vidarbha (see Noles. p. 148). 160. Varuna ... ... One of the nine divisions of the Bhāratavarsa, From the order in which the names are mentioned both in the Purāņas as well as in the Kāvyamīmāṁsā, some are inclined to surmise that Varuņa was situated in the north-castern direction of India, and that it may represent an Indian colony in Central Asia (sec Cunningham's A. G. Notes p. 754). 161. Varna ... According to Rājaśckhara, this is a river in South India, its source being the Sahya mountain. It may be identified either with the river Krsņā or Beņā which is a branclı of the Krsnã and rises from the western Ghats. 162. Vallārce ... The country ruled by the Vallāla dynasty in South India seems to be called Vallara. It represents the country near Venkațagiri including Chittoor and Vellore in the Madras Presidency. 163. Valhaa ... ... One of the countries in the northern India. It may be identified with the Vallapura (Ballawar) one of the hill states mentioned in the Rājatarangiņā. It is in the south-eastern direction of Kashmir. 164. Vānāynja ... A. country in the north, generally identified with Arabia (see N. L. Dey). Kautilya considers the horses of this country as best. (Kautilya-Asvādhyakşa). 165. Vānavūsrka ... North Kanara was known by this name. Ptolemy, refers to a town called Banaouasei (Benavas) on the left bank of the Varadā ·308 APPENDIX I. p. 243). 167. river which is a tributary of the river Tungabhadrā in North Kanara. Vanavāsi was the capital of the Kadamba dynasty and was founded by the king Mayūrvarman. 166. Vamannswami This is a temple of Vāmana situated in the western part of the city of Kanauj (see Notes Várincisi ... Benares. 168. Vārtaghni ...A river in the western India according to Rājasekhara. It may be identified with the river Vātrak a tributary of the Sābarmati. The two rivers meet near Kaira. 169, Vāllthre .. The country between Bias and Sutlej, north of Kekaya (see Rāmāyaṇa II. 78.). According to the Trikāņdabeşa, it is Trigarta. Bābīkas, Vāhīkas and Jartikas are identical with the people of this country. According to the Mahābhārata (Karņa. ch. 44) Bālhīkas living in Balkh are foreigners who invaded into India. They had S'ākala .or Sialkot as their capital which was to the west of the Ravi. (see Cunningham's Notes p. 686). p. 686). Kātyāyana derived this word from बहिस्. Bäbikas were contemptuous in the public eye, and were compared to cows. Cf. बाहीको गीः। 170. Vähika ... ... Same as Vālhika. 171. Vitastic ..The river Jhelum, 172. Vidarbha ...In ancient days, the country of Vidarbba comprised the whole of Berar, Khandesh and portions of the Nizam's territory and Central Provinces. (see Krathakaisika). 173. Videha .Tirhut or Tirabhukti. 174, Vìmuasama ... The spot where the Sarasvati disappears in the desert after taking a westerly course from the Thānesvar. It may be lorated in Sirhind (Patiala state).

·APPENDIX I. 309 175. 176. 177. 178. 179, ... Vindhya... .. The Vindhya range or Vindhyadakşipapāda or the Satpura hills between the Tāpī and Narmadă. Vipās'ü ... The Bias or Beas, a tributary of the Sutlej. Vis'ālā ... The city of Ujjain, the capital of Avantī. Venā ...A tributary of the river Krşņā (see Varņā). Vaidisa .. Vidiśā. Bhilsa in Mālwa in the kingdom of Bhopal on the river Betwa or Vetravati 26 miles to the north-east of Bhopal. It was the capital of ancient Daśārņa, and Agnimitra ruled in this city as a Viceroy of his father Puşyanitra (see Mālavikāgnimitra). l'okkūna... ... Rājasekhara mentions this as one of the countries in North India. This country may bo identified with Hiuen Thsang's (-po-kien which he places between Felana and Ghazni in Afghanistan. Cunningham is, however, inclined to identify (-po-kien of Hiuen Thsang with the name "Afghan" as the Chinese syllable ‘kien' represents ‘ghan'. The Indian pronunciation for'ghan' is kkana and 0-po or Ava may stand for Vo. Thus Vokkāņa may be the same as the 0-po-kien or Afghan. The country of Vokkāņa may also represent the Wakhan Pamirs which lies beyond the Hindukush and the Badaksan. 180. 181. Saka ... Sakasthan where the S'akas first settled after coming to India. to India. S'ākala or Sialkot in the Lahore division, Punjab, may be identified with this S'aka of Rajasekhara. Sākala was first made the capital by Greek king Demetrius; Mihirakula, the Huņa, also made S'ākala as his capital in 510 A.P. S'akala was in ruins when Hiuen ·310 APPENDIX I. Thsang was on his travels in India (c. 680 A. D.). It is probable that before his time several Hindu kings had attacked the S'akas and destroyed their capital at Sākala. 182. Satadri... ... The river Sutlej. 183. Silmalidvipa... One of the seven Dvīpas constituting the world. This is said to be surrounded by the ocean of Surā. According to Mr. N. L. Dey this represents Chaldea in Mesopotamia. 184. Siprū ...A river on which Ujjayini is situated. 185. Suktimän ... The portion of the Vindhya range which connects the Pāriyātra and the Rkşaparvata. This is regarded as one of the Kulaparvatas of the Kumārīdvīpa or India. 186. Sirasence ...Mathura or Muttra was the capital of the kingdom of S'ūrasenas. Rājasekhara includes S'ūrasena among the countries in North India and mentions that king Kuvinda once ruled over S'ūrasena. 187. Srrigavān ... This is said to be the third mountain to the north of the Mahămeru which is situated in the middle of the Jambūdvīpa. It is regarded as the principal mountain of the continent Uttarakuruvarşa. 188. Sono ... Rājasekhara mentions S'ona as a Nada in the eastern India. This is the same Sone which meets the Ganges near Patna. 189. Sriparvata ... Rājasekhara locates this mountain in South India, S'risaila which is situated near Kurnool and at a distance of 50 miles from the Kļşnā station of the G. I. P. Railway appears to be the same as S'rīparyata. It is a sacred spot and two temples, one dedicated to Mallikārjuna Mabādeva and the other to Bhramarāmbā Devī, are situated here.

·APPENDIX I. 311 190. S'vabhravati ... A river in the western India. This may be identified with the river Sābarmati in North Gujarat which flows into the gulf f Cambay. 191. Svetagiri l'his is said to be the second mountain to the north of the Mahāmeru which is situated in the middle of the Jambūdvīpa. It is regarded as the principal mountain of the continent known as Hiranmaya Varşa. 192. Sarayı ...A river in the United Provinces. The town of Ayodhyā is situated on the bank of this river and it meets the Ganges near Chāprā. 193. Sarasvati ... Rājasekhara mentions two rivers of the samo name Sarasvati; one, he places in the northern India, while the other in the west. The first, in the north, is the river which flows alongsido Thāneśvara and Pịthūdaka and disappears into the sandy desert at Vinaśana. The second, in the west, may be identified with the river which flows by Pattan in the Baroda territory and into the littlo Rann of Cutch. The source of the latter seems to be the hills near Udaipur where the Dhebar lake is situated. (see Devasabhā). Suhudu... ...Rājasekhara includes this among the countries in North India. This may represent the western Afghanistan where the present Safadkoh and Sabzawar are situated. 195. Sahya ... The northern portion of the western Ghats situated between the river Kāverī in the south and the Godāvarī in the north. 19.1. 196. Sindhu ... The river Indus. Rājasekhara locates this in North India. ... Ceylon. It is different from the Lankā. (see Lankā). 197. Simhala ·312 APPENDIX I. ... 198. Surāstra... ...Kathiawad and other portions of northernmost Gujarat. 199. Surha ..Rājasekhara mentions this as one of the eastern countries. According to Kālidāsa's descriptions, the country of Suṁha is situated on the coast of the bay of Bengal near Vanga on the Gangetic delta. He also states that the river Kapisa is to the south of this country. (see Raghuvamsa iv. 35-38). The river Kapića is, theroforc, to be located in the land intermediato between Vanga and Utkala on the eastern coast. (see Kapiśā). 200. Sūrpāraka .. This is a country in South India according to Rājasekhara. This is identified with Sopārā in the district of Thāņā 37 miles north of Bombay and 4 miles north-west of Bassein. 201. Saumya ... ... Ono of the nine parts of the Bhāratavarşat. Saumya seems to be a country situated in the north-west direction of India, if we aro to rely on the order of sequence as given in the Purâņas, while enumerating the different parts constituting the Bhāratavarşa. 202. Ilarisamiirga... This is also called as Krauốcarandhra or Hamsadvāra, in the Himālayas; it is said to have been opened by Paraśurāma with an arrow. This is identified with the Niti pass, in the district of Kumaon, connecting Tibet with India, 203. Harahūrava ... The country lying between the Indus and the Jhelum, the Gandgarh mountain and the salt range. (see Cunningham's map. vi.). Rūjasekhara places this country, in the northern India, ·APPENDIX I. 313 204. Harivarsa ... This is the first Varşa on the southern side of the Mahāmeru, Nişadha is said to be the principal mountain of this Varşa. 205. Hastinapura ... The capital of the Kurus, north-west of Delhi. It was situated on the right bank of the Ganges at a distance of 22 miles north-west of Meerut. 206. Hidimbā... ...A river in the western India, according to Rājaſekhara. This river This river may be iden. tified with Chambal or Carmaņvati which rises from the Vindhyas, flows through the western India and meets with the Yamunā near the Ekacakra which is adjacent to Etawah. This Ekacakra, it may be remembered, is situated near Hidimbāvana according to the Mahābhārata. Since, this river flows through the Hidimbā forest, it is not unnatural that it should be called by the name of Hidimbā. The river Hidimbā may also be identified, as an alternative measure, with the river Gainbhīrā which is a tributary of the river S'iprā in Central India. 207. Himavān ... The Himālayan range which is the principal mountain of the Bhāratavarşa. 208. Himalaya ... Same as Himavān. 209. Hiranmayavarşa This is one of the seven Varşas constituting the Jambūdvipa or Asia. It is the second Varşa on the northern side to the Mahāmeru. The S'veta range The S'veta range forms the principal mountain of this Varşa. 210. Hüna ...One of the countries in North India. While describing the Digvijaya of Raghu, Kālidāsa mentions the country of the Hūnas in the northern direction, and adds that it can be reached from Persia by crossing the river Vaňkşu (sic. Sindhu). The country of the Hüņas, under the circumstances, may be identified with the country between the modern Waksh and 40 ·314 APPENDIX I. 211, Hihuka ... Akşu, the two tributaries of the Oxus. This identification becomes all the more certain when we consider that Kālidāsa places the Kāmbojas in the widely distributed mountainous parts situated between the Hūņa country and the Himālayas. The country near S'ākala or Sialkot in the Punjab or Malwa cannot, however, represent the Hūņa country of Rājasekhara because these places are mentioned by him with different names. These places, moreover, were acquired by the Hūņa kings Toramāna and Mihirakula after they had invaded India, and thus cannot represent their original home or even earlier settlements. ... One of the countries in the northern India. It may be identified with the northern Kashmir. Hiuen Thsang while entering the valley of Kashmir from the west, reached a city which he calls Hu-se-kia-lo .or Huskara. In the Rājatarangini Huşkapura is said to be near Varāha or Vārāhanūla. Iluşhara or Uskar still exists as a village on the left or eastern bank of the Behat. The country surrounding Huşkapura or Uskar may represent the Hűhuka of Rājasekhara, and presumably, this may represent the countryof Kashmir which is otherwise omitted in the list of North Indian countries given by Rājasekhara on page 94. ... This is a Varşa Parvata, being the second from the Mahameru on the southern side. This is the principal mountain range of the Kimpuruşavarşa, and is situated on the northern side of the Himayān and the Bhāratavarşa. (see Kimpurusavarşa). T 212, Henakūta

·जानता
Gaekwad's Oriental Series
CATALOGUE OF BOOKS
1935
<
ORIENTAL INSTITUTE, BARODA

·SELECT OPINIONS Sylvain Levi : The Gaekwad's Series is standing at the head of the many collections now published in India. Asiatic Review, London : It is one of the best series issued in the East as regards the get up of the individual volumes as well as the able editorship of the series and separate works. Presidential Address, Patna Session of the Oriental Conference: Work of the same class is being done in Mysore, Travancore, Kashmir, Benares, and elsewhere, but the organisation at Baroda appears to lead. Indian Art and Letters, London : The scientific publications known as the “ Oriental Series" of the Maharaja Gaekwar are known to and highly valued by scholars in all parts of the world. Journal the Royal Asiatic Society, London : Thanks to enlightened patronage and vigorous management the " Gaekwad's Oriental Series" is going from strength to strength. Sir Jadunath Sarkar, Kt. : The valuable Indian histories included in the «Gaekwad's Oriental Series " will stand as an enduring monument to the enlightened liberality of the Ruler of Baroda and the wisdom of his advisers. Times Literary Supplement, London : These studies are a valuable addition to Western learning and reflect great credit the editor and His Highness. on ·GAEKWAD'S ORIENTAL SERIES Critical editions of unprinted ahd original works of Oriental Literature, edited by competent scholars, and published at the Oriental Institute, Baroda I. BOOKS PUBLISHED. Rs. A. 1. Kävyamīmāṁsā: a work on poetics, by Rijasekhara (880--920 A.D.): edited by C. D. Dalal and R. Anantakrishna Sastry, 1916. Reissued, 1921. Third edition revised and enlarged by Pandit K. S. Ramaswami 2-0 Shastri of the Oriental Institute, Barolla, 1934 This book has been set as a text-book by several Universities including Benares, Bombay and Patna. 2. Naranārāyaṇānanda: a poem on the Paurinic story of Arjuna and Krsna's rambles on Mout Girnar, by Vastupāla. Minister of King Viradhavala of Dholka, composed between Samvat 1277 and 1287, i.e., A.D. 1221 and 1231 : edited by C. D. Dalal and R. Anantakrishna Sastry, 1916 .. Out of print. 3. Tarkasangraha: a work on Philosophy (refutation of Vaijenika theory of atomic creation) by Inandajiana or Inandagiri, the famous commentators on Sankara - carya's Bhavas, who flourished in the latter half of the 13th century: edited by T. M. Tripathi, 1917. Out of print. 4. Pārthaparākrama: a drama describing Arjuna's recovery of the cows of King Virāta, by Prahladanadeva, the founder of Palanpur and the ounger brother of the Paramāra king of Chandravati (a state in Marwar), and a feudatory of the kings of Guzerat, who was a Yuvarăja in samvat 1220 or A.D. 1164: edited by C. D. Dalal, 1917 Out of print. 5. Rāşțraudhavamsa : an historical poem (Mahakiivya) describing the history of the Bagulas of Mavūragiri, from Rāstraudha, king of Kanauj and tho originator of the dynasty, to Nāra vana Shah of Mayuragiri, by Rudra Kavi, composed in Saka 1518 or A.D. 1596 : edited by Pandit Embar Krishnamacharya with Introduction by C. D. Dalal, 1917 . 1-12 6. Lirgānušāsana : on Grammar, by Viinana, who lived between the last quarter of the 8th century and the first quarter of the 9th century : edited by C. D. Dalal, 1918 0-8 7. Vasantavilasa: an historical poem (Mabākavya) describing the life of Vastupala and the history of . O ·2 Rs. A. 1-8 8 2-1 10. 0 Guzerat, by Bālachandrasūri (from Modheraka or Modhera in Kadli Prant, Baroda State), contemporary of Vastupāla, composed after his death for his son in Samvat 1296 (A.D. 1240): edited by . D. Dalal, 1917 Rūpakaşațkam : six dranks by Vatsarāja, minister of Paramardidova of Kalinjara, who lived between the 2nd half of the 12th and the 1st quarter of 13th century : edited by ('. D. Dalal, 1918 Mohaparājaya : an allegorical drama describing the overcoming of King Moha (Temptation), or the conversion of Kumārapala, the (halukya King of Guzerat, to Jainism, by Yalahpala, an oflicer of King Ajayadeva, son of Kumārapāla, who reigned from A.D. 1229 to 1232 : edited by Muni Chaturvijayaji with Introduction and Appendices by ('. 1). Dalal, 1918 Hamnīramadamardana : a drama glorifying the two brothers, Vastupāla and Tejahpāla, and their King V'iradhavala of Dholhit, by Jav asimhastūri, pupil of Virasūri, and an Acurva of the temple of Munisuvrata at Broach, composed between Sainvat 1270 and 1256 or A.D. 1220 and 1239 : edited by ('D. Dalal, 1920 .. Udayasundarikathā: a romance (('ampii, in prose and poetry) by Socklhala, it contemporary of and patronised by the three brothers, ('lichittaraja, Vāgarjuna, and Mummunirajá, successive rulers of Konkan, composed between A.D. 1026 and 10.30 : edited by ('. l). Dalal and Pandit Embar Krishnamacharya, 1920 Mahāvidyāvidambana : a work on Nvaya Philosophy, by Bhatta Vädindra who lived about AD. )310) to 1274: edited by M. R Telang, 1920 Prācīnagurjarakāvysangraha : collection of old Guzerati pooms dating from 12th to 15th centuries A.D. : edited bv ('. D. Dalal, 1920 Kumārapālapratibodha : biographical work in Prakrta, by Somaprabhācharya, composed in Samvat 1211 or A.D. 119,5: edited by Muni Jinavijayaji, 1920 Gaņakārikā: a work on Philosophy (Pasupata School), by Bhāsarvajña who lived in the 2nd half ofethe 10th century : edited by ('. D. Dalal, 1921 Sangitamakaranda : a work on Music, by Nárada : edited by M. R. Telang, 1920 .. Kavindrācārya List : list of Sanskrit works in the collection of Kavindräcārya, a Benares Pandit (1656 A.D.): edited by R. Anantakrishna Shastry, with a foreword by Dr. Ganganatha Jha, 1921 Vārāhagļhyasútra: Vedic ritual (domestic) of the Yajurveda : edited by Dr. R. Shamasastry, 1920 Lekhapaddhati : a collection of models of state and private documents, dating from 8th to 15th centuries A.D.: 21 1. 13. a it. 7-8 15. 1-4 16. 2-0 17. 0-12 18. 0-10 19.

·3 . . Rs. A. edited by C. D. Dalal and G. K. Shrigondekar, 1925 20. Bhavișayattakahā or Pancamikahā : a romance in Apabhramsa language, by Dhanapala (circa 12th century): edited by ('. D. Dalal and Dr. P. D. Gune, 1923 B-O 21. A Descriptive Catalogue of the Palm-leaf and Important Paper MSS. in the Bhandars at Jessalmere, compiled by C.D. Dalal and cdited by Pandit L. B. Gandhi. 1923 3-4 Paraśurāmakalpasūtra : a work on Tantra, with commentary by Rimes vara : edited by A. Mahadeva Sastry, B.A., 19:23 Out of print. 23 Vityotsava : « S1pplement to the Parafurāmakalpasūtra by Umanandanātha : edited by A. Mahadeva Sastry, B.A., 1923. Neconil revised edition by Suami Tirvikrama Tirtha, 1930 24. Tantrarahasya : a work on the Prabhakara School of Pūrvmimuisi, by Rāmānnjacīrya : edited by Dr. R. Shamasastry, 1923 I-8 25, 32. Samarāngana : work on architecture, townplanning, and engineering, by king Bhoja of Dhara (11th century): edited by Mahamahopadhyaya T. Ganapati Shastri, Ph.D). Illustrated. vols., 1921-1925 10-0) Sadhanamālā : a Buddhist Tantric text of rituals, <lated 1167 A.D., consisting of 312 small works, composed by distinguished writers : edited by Benovtosh Bhattacharyya, M.A., Ph.D). Illustrated. vols., 1925- 1928 140 27. A Descriptive Catalogue of MSS. in the Central Library, Baroda : compiled by G. K. Shrigondekar, M.A., and K. S. Ramaswami Shastri, with a Preface by B. Bhattacharyva, PhD., in 12 vols., vol. I (Veda, Vedalak-ana, and Upani-ads), 1925 6-0 28. Mānasollāsa or Abhilaşitārthacintamani : an encyclopaedic work treating of one hundred different topics connected with the Royal household and the Royal court, by Someśvaradeva, a Chalukya king of the 12th century : edited by G. K. Shrigondekar, M.A., 3 vols., vol. I, 1925 2-12 29. Nalavilāsa: a drama by Ramachandrasūri, pupil of Hemachandrasūri, describing the Paurānika story of Nala and Damayanti: edited by G. K. Shrigondekar, M.A., and L. B. Gandhi, 1926 30, 31. Tattvasangraha : a Buddhist philosophical work of the 8th century, by Sántaraksita, a Professor at Nálandā with Pañjikā (commentary) by his disciple Kamalaśīla, also a Professor at Nalanda : edited by Pandit Embar Krishnamachārya with & Foreword by B. Bhattacharyya, M.A., Ph.D., 2 vols., 1926 .. 24-0 26, 11.

·4 .. 37. Rs. A. 33, 34. Mirat-i-Ahmadi: by Ali Mahammad Khan, the last Moghul Dewan of Gujarat: edited in the original Persian by Syed Nawab Ali, M.A., Professor of Persian, Baroda (ollege, 2 vols., illustrated, 1925-1928 19-8 35. Mānavagſhyasūtra : a work on Vedic ritual (domestic) of the Yajurveda with the Bhāşya of Astāvakra : edited with an introduction in Sanskrit by Pandit Ramakrishna Harshaji Šāstri, with a Preface by Prof. B. C. Lele, 1926 5-0 36, 68. Nāțyaśāstra : of Bharata with the commentary of Abhinavagupta of Kashmir: edited by M. Ramakrishna Kavi, M.A., 4 vols., vol. I, illustrated, 1926, vol. II, 1934 11- Apabhramsakāvyatrayi: consisting of three works, the Carcari, Upadeśarasāyana, and Kālasvarūpakulaka, by Jinadatta Sūri (12th century) with commentaries : edited with an elaborate introduction in Sanskrit by L. B. Gandhi, 1927 38. Nyāyapraveśa, Part I (Sanskrit Text): on Buddhist Logic of Dirnāga, with commentaries of Haribhadra Sūri and Parávadeva: edited by Principal A. B. Dhruva, M.A., LL B., Pro-Vice-Chancellor, Hindu University, Benares, 1930 4-0 :39. Nyāyapraveśa, Part II (l'ibetan Text): edited with introduction, notes, appendices, etc., by Pandit Vidhusekhara Bhattacharyya, Principal, Vidyabhavana. Visvabharati, 1927 1-8 40. Advayavajrasangraha : consisting of twenty short works on Buddhist philosophy by Advayavajra, a Buddhist avant belonging to the 11th century A.D)., edited by Mahārahopädhyaya Dr. Haraprasad Sastri, M.A., C.I.E., Ilon. D.Litt., 1927 2-0 42, 60. Kalpadrukosa : standard work on Sanskrit Levicography, by Kesava : edited with an elaborate introduction by the late Pandit Ranavatara Sharma, Sahityacharya, MA., of Patna and index by Pandit Shrikant Sharma, 2 vols., vol. I (text), vol. II (index), 1928-1932 14-0 43. Mirat-i-Ahmadi Supplement : by Ali Muhammad Khan, Translated into English from the original Persian by Mr. ('. N. Scddon, 1.C.S. (retirod), alıd Prof. Syed Nawab Ali, M.A. Illustrated. Corrected rcissue, 1928 6-8 Two Vajrayāna Works : comprising Prajñopāyavinisca yasiddhi of Anangavajra and Jñänasiddhi of Indrabhūti--two important works belonging to the little known Tantra school of Buddhismi of Buddhism (8th century A.D.): edited by B. Bhattacharyya, Ph.D., 1929 3-0 Bhāvaprakāśana : of Sáradatanaya, a comprehensive work Dramaturgy and Rasa, belonging to A.D. 1175-1250; edited by His Holiness Yadugiri Yatiraja Swami, Melkot, and K. S. Ramaswami Sastri, Oriental Institute, Baroda, 1929 7-0 45. on ·5 on 50. an Rs. A. 46. Rāmacarita : pf Abhinanda, Court poet of Hāravarna probably the same as Devapāla of the Pāla Dynasty of Bengal (cir. 9th century A.D).): edited by K. S. Ramaswami Sastri, 1929 7-8 47. Nañjarājayaśobhūşaņa ; by Nrsimhakavi alias Abhinava Kalidāsa, a work on Sanskrit Poetics and relates to the glorification of Nañjarīja, son of Virabhūpa of Mysore : edited by Pandit E. Krishnamacharya. 1930 48. Nāțyadarpaņa : on dramaturgy, by Rāmacandra Sūri with his own commentary : edited by Pandit L. B. Gandhi and G. K. Shirigondekar, M.A. 2 vols., vol. I, 1929 1-8 49. Pre-Dinnāga Buddhist Texts Logic froin Chinese Sources : containing the English translation of Satáśīstra of Aryadeva, Tibetan text and English translation of ligruha vyvartanī of Nagarjuna and the re-translation into Sanskrit from (hinese of l' payahrdaya and Tarka.scăstra : edited by Prof. Giuseppe Tucci, 1930 9-0 Mirat-i-Ahmadi Supplement : Persian teit giving account of Guzerat, by Wi Muhammad Khan : edited by Syed Nawab Ali, V.A., Principal, Bahauddin (ollege, Junagadh, 1930 0 0 51. Trişaştisalākāpuruşacaritra : of Hemacandra, translated into English with copious notes by Dr. Helen M. Johnson of Osceola, Missouri, U.N.A. I vols., vol. I (Adisvaracaritra), illustrated, 1931 1) 0 52 Dandaviveka : a comprehensive Penal Code of the ancient Hindus by Vardhamāna of the 15th century A.D. : cited by Mahamahopadhyava Kamala Kuna Smrtitirtha, 1931 58 53. Tathāgataguhyaka or Guhyasamāja : the earliest and the most authoritative work of the Tantra School of the Buddhists (3rch century A.D.): edited by B. Bhattacharyya, Ph.D., 1931 54. Jayākhyasarhită : an authoritative Pañcaratra work of the 5th century 1.11., highly respected by the South Indian Vaisnavas: edited by Pandit E. Krishnamacharyya of Vadtal, with one illustration m nine colours and a Foreword hy B. Bhattacharya, Ph.D., 1931 12-0 50. Kāvyālankārasārasarngraha : of Udbhata with the commentary, probably the same as Udbhataviveka of Räjānaka Tilaka (11th century A.D.): edited by K. S. Ramaswami Sastri, 1931 56. Pārānanda Sūtra : an an ancient Tantric work of the Hindus in Sūtra form giving details of many practices and rites of a new School of Tantra : edited by Swami Trivikrama Tirtha with a Foreword by B. Bhattacharyya, Ph.D., 1931 3-0 ·6 Rs. A. 57, 69. Ahsan-ut-Tawarikh: history of the Safawi Period of Persian History, 15th and 16th centuries, by Hasani-Rumlu : edited by C. N. Seddon, I.C.S. (retired), Reader in Persian and Marathi, University of Oxford. 2 vols. (Persian text and translation in English), 1932-34 19-8 58. Padmānanda Mahākāvya : giving the life history of Ruabhadova, the first Tirthankara of the Jainas, by Amarachandra Kavi of the 13th century: edited by H. R. Kapallia, M.A., 1932 11-0 59. Sabdaratnasamanvaya : an interesting lexicon of the Nānurtha class in Sanskrit compiled by the Maratha King Sahaji of Tanjore: edited by Pandit Vitthala Šāstri, Sanskrit Pathaśāla, Baroda, with a Foreu ord by B. Bhattacharyya, Ph.D., 1932 11.0 61. Saktisargama Tantra : i voluminous compendium of the Uindu Tantra comprising four books on Kāli, Tārā, Sundari and hhinnamastā: edited by B. Bhattacharyya, M.I., Ph.D., 1 vols., vol. I, Kālikhancla, 1932 2-8 62. Prajñāpāramitās : commentaries on the Prajñāpāramitū, a Buddhist Buddhist philosophical work: edited by Giuseppe Tucci, Member, Italian Academy, vols., vol. I, 1932 12-) 63 Tarikh-i-Mubarakhshahi : an authentic and contemporary account of the kings of the Naiyyid Dynasty of Delhi: translated into English from original Persian by Kamal Krishna Basu, M.A., Professor, T.N.J. (Follege, Bhagalpur, with a Foreword by Sir Jadunath Sarkar, Kt., 1932 7-8 61 Siddhāntabindu : on Vedānta philosophy, by Madhusudana Sarasvati with commentary of Purusottama : edited by P. ('. Divanji, M.A., LL.M., 1933 11-0 65 Işțasiddhi: on Vedānta philosophy, by Vimuktåtmi, disciple of Avyavatmā, with the author's own commentary: edited by M. Hiriyanna, M.A., Retired Professor of Sanskrit, Maharaja's College, Mysore, 1933 14-0 66, 70. Sabara-Bhāşya : on the Mimāṁsā Sūtras of Jaimini : Translated into English by Mahāmahopādhyāya Dr. Ganganath Jha, M.A., D.Litt., etc., Vice-Chancellor, University of Allahabad, in 3 vols., vol. 1, 1933; vol. II, 1931 320 67. Sanskrit Texts from Bali : comprising a large number of Hindu and Buddhist ritualistic, religious and other texts recovered from the islands of Java and Bali with comparisons: edited by Professor Sylvain Levi, 1933 3-8 • II. BOOKS IN IN THE PRESS. 1. Nāțyaśāstra : edited by M. Ramakrishna Kavi, 4 vols., vol. III.

·7 Rs. A. 2. 3. Mānasollāsa or Abhilasitárthacintamani, edited by G.K. Shrigondehar, M.A., 3 vols., vol. II. A Descriptive Catalogue of MSS. in the Jain Bhandars at Pattan : edited from the notes of the late Mr. ('. D. Dalal, V.A, by L. B. Gandhi, 2 vols. 4. Portuguese Vocables in Asiatic Languages : translated into English from Portuguese by Prof. A. X. Soares, M., LL.B., Baroda College, Baroda. 5. (Il Alamkāramalıodadhi : fanious work Nanskrit Poetics composed by Narendraprabha Sūri at the request of Minister Vastupala in 1220 A.D. edited by Lalchandra B. (Handhi of the Oriental Institute, Baroda. 6. on Sūktimuktāvali: Voll-known Sanskrit work Anthology, of Jalhana, a contemporary of King kina of the Northern Yādavit Dynasty (AD. 1217): erliter! by Pandit E. Krishnamacharya, Sanskrit Pūthavālā, Varltal. 7. Trişastišalākāpuruşacaritra : of Hemacandra. translated into English by Dr. Helen M. Johnson, 1 vols., vol. II. (11 Sabara-Bhāsya : on the Mimavisā Sutras of Jaimini: Translated into English by Mahāmahopridhyāya Dr. Gianganath Jha, M.I., D.Litt., etc., Vice-Chancellor, University of Allahabad, in 3 vols., vol. II. 9 Ganitatilakavrtti : of Sripati with the commentary of Sinnhatilahir, non-Jain work Withmetic and Algebra with a Jain comentary. edited by II. R. Kapadia, 11.A. 10. Nārāyaṇa Sataka : a devotional poem of high literary merit by l'idvāhara with the commentary of litāmbara : edited by Pandit Shrikant Sharma. 11. Dvādaśāranayacakra: ancient polemical treatise giving a résumé of the different philosophical systems with a refutation of the same from the Jain standpoint by Mallavädi Suri with a commentary by Simhasuri Gani: erliter by Muni ('aturvijayaji. 12. Nāyakaratna : a commentary on the Nyāyaratnamālā of Pārthasarathi Misra by Rāmānuja of the Prabhākara School: edited by K. S. Ramaswami Nastri of the Oriental Institute, Baroda. all 13. Rājadharma-Kaustubha : an elaborate Smrti work on Rājadharma, Rājaniti and the requrements of kings, by Anantadeva: edited by Mahamahopadhyaya Kamala Krishna Smrtitirtha.

·8 Rs. A. an III. BOOKS UNDER PREPARATION. 1. A Descriptive Catalogue of MSS. in the Oriental Institute, Baroda : compiled by the Library staff, 12 vols., vol. II (Srauta, Dharma, and Gșhya Sūtras), 2. Prajñāpäramitās : commentaries on the Prajñāpāramitä, a Buddhist philosophical work: edited by Prof. Giuseppe Tucci, 2 vols., vol. 11. 3 Saktisangama Tantra : comprising four books on Kāli, Tärā, Sundari, and Chhinnamasta : odited by B. Bhattacharyya, Ph.D., 4 vols., vols. 11-IV. 4. Nāțyadarpaņa: introduction in Sanskrit giving account of the antiquity and usefulness of the Indian drama, the different theories on Rasa, and an examination of the problems raised by the text, by 1. B. Gandhi, 2 vols., vol. 11. 5. Gandavyuha: a Buddhist work describing the history of Sudhana in search of perfect knowledge, and the exploits of Manju“ri (3rd century A.D.): cdited by B. Bhattacharyya, Ph.D., : vols 6. Gurjararásávali: a collection of several old (iujarati Rāsas : elited by Vessrs, B. K. Thakore, M. D. Desai, and M. ('. Modli. 7. Paraśurāma-Kalpasūtra : il important work on Tantra with the commentary of Rāmenyara: second revised edition by Swami 'Trivikrama Tirtha. 8. Tarkabhāṣā: i work on Buddhist Logic, by Vokskara Cupta of the Jagauldala monastery: edited with a Sanskrit commentary by Pandit Embar krisimamacharya of Vadtal. 9. Madhavānala -Kāmakandalā: a romance in old Western Rajasthani by Ganapati, a Kayastha from Amod edited by M. R. Majumdar, M.A., LL.B. 10. A Descriptive Catalogue of MSS. in the Oriental Institute, Baroda : compiled by the Library staff, 12 vols., vol. III (Smrti MSS.). 11. An Alphabetical List of MSS. in the Oriental Institute, Baroda : compiled from the existing card cata. logue by K. Rangaswamy, Superintendent, Printed Section. 12. Prācīna Gurjara Kävya Samgraha : explanatory and linguistic notes on the texts printed as No. 13: by B. B. Mehta, in 2 vols. 13. Chhakkammuvaeso : an Apabhramsa work of the Jains containing didactic religious teachings : edited by L. B. Gandhi, Jain Pandit. 14. Samrăț Siddhānta : the well-known work on Astronomy of Jagannatha Pandit: critically edited with numerous diagrams by Pandit Kedar Nath, Rajjyotisi, Jaipur.

·os Rs. A. 15 Vimalaprabhā: the famous commentary on the Kālacakra Tantra and the most important work of the Kālacakra School of the Buddhists: edited with comparisons of the 'l'ibetan and Chinese version by Giusoppo Tucci of the Italian Academy. 16. Nişpannayogāmbara Tantra: describing a large number of mandalas or magic circles and numerous deities : edited by B. Bhattacharyya. 17. Basatin-i-Salatin : a contemporary account of the Sultans of Bijapur: translated into English by 11. A. Kazi of the Baroda College and B. Bhattacharyya. 18. Madana Mahārņava : a Smộti work principally dealing with the doctrine of Karmavipāka composed (luring thro reign of Māndhātā son Madanapāla : edited by Embar Krishnamacharya. 19. Hamsa-vilāsa: of Hamsa Bhikşu · forms an elaborate defence of the various mystic practices and worship: edited by Suami Trivikrama Tirtha. 20 Trişastiśalākāpuruşacaritra : of Hemacandia : translated into English by Dr. Helen Johnson, + voly, Vols. III-IV. For further particulars please communicate with--- THE DIRECTOR Oriental Institute, Burola.

·10 THE GAEKWAD'S STUDIES IN RELIGION AND PHILOSOPHY. ? Rs. A 15-0 an 3-0 . 2-0 1. The Comparative Study of Religions: Contents : I, the sources and nature of religious truth. IT, supernatural beings, good and bad. III, the soul, its nature, origin, and destiny. IV, sin and suffering, salvation and redemption. V, religious practices. VI, the emotional attitude and religious ideals]: by Alban A. Widgery, M.A., 1922 2. The Philosophy and Theology of Averroes: (Contents: I, a decisive discourse on the delineation of the relation botween religion and philosophy. Ia, on the problem of eternal knowledge which Averroes has mentioned in his decisive discourse. Il, exposition of the methods of arguments concerning the doctrines of the faith]: by Mohammad Jamil-ur-Rahman, M.A., 1921. (Cloth Rs. 5) 3 Religious and Moral Teachings of Al Ghazzali : A (Contents: 1, the nature of man. II, human freedom and responsibility. TII, pride and vanity. IV, friendship and sincerity. V, tho nature of love and man's highest happiness. VI, the unity of God. VII, the love of God and its signs. VIII, rind, or joyous submission to llis will] : translated by Syed Nawab Ali, M.A., 1921 Goods and Bads: being the substance of a series of talks and discussions with H.H. the Maharaja Gackwad of Baroda. (Contents : introduction. I, physical values. II, intellectual values. III, asthctio values. IV', moral value. V, religious value. VI, the good life, its unity and attainment]: by Alban G. Widgery, M.A., 1920. (Library edition Rs. 5) Immortality and other Essays : (Contents: 1, philosophy and life. ,I1, immortality. III, morality and religion. IV, Jesus and modern culture. V, the psychology of Christian motive. VI, free Catholicism and non-Christian Religions. VII, Nietzsche and Tolstoi on Morality and Religion, VIII, Sir Oliver Lodge on science and religion. IX, the value of confessions of faith. X, the idea of resurrectiun. religion and beauty. XII, religion and history XIII, principles of reform in religion): by Alban G. Widgery, M.A., 1919. (Cloth Rs. 3) 6. Confutation of Atheism : a translation of the ladis-2- Halila or the tradition of the Myrobalan Fruit: translated by Vali Mohammad Chhanganbhai Momin, 1918 . Conduct of Royal Servants : being a collection of verses from the Viramitrodaya with their translations in English, Gujarati, and Marathi : by B. Bhattacharyya, M.A., Ph.D. 3-0 XI, 2-0 0-14 0-6

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