10 Kavyadarsha

Dr. Bhandaram Vani

The main purpose of language is to communicate ones ideas to another. In the ordinary world while conveying his ideas he should be constantly trying to make it perfect and apprehensible as far as possible by expressing it with the usage of similes, metaphors etc. Though unaware of the technicalities this process goes on until the informer and the informed are satisfied and had a clear understanding. Such expressions and descriptions are abundant in poetry. The roots of expressions are found in the oldest finest and scientific structures that are Rig-Veda and other Vedas. The later literature have used these extensively hence it became necessary to learn the nature, origin and importance of such embellishments of poetry and slowly it developed into a particular branch of learning i.e. Poetics, the Alamkara Shastra. The early critics must have taken available literary works like Vedas and other available sources to analyze and evaluate. And the later literary works that are influenced the theories of earlier critics became basis for the next generation critics. In due course of time, the critics started to dictate the rules and regulations to the literary works of the poets. The rules were necessary to guide the beginners of literary work and to check the form and nature of compositions from becoming incomprehensible to the future generations.

Sanskrit theorists felt that a composition can be called as a “standard” work only if it fulfills the prescribed requirements of ornamental qualities, styles etc. of particular arrangement of words to suggest a sense or a sentiment. The theorists felt that enjoyment of reading poetry or watching a play should lead to an idealized life being the highest object and literary composition is valued for its message that it gives and considered as semi Shastra (equivalent to science).

The earliest works on Alamkara which are mostly lost now, dealt with various types of literary ornamental qualities which led to the criticism and enquiry about these adornments do really possess the adorning quality. The actual meaning of the word Alamkara is alam karoti anena iti – that which is adorns obviously means an ornament and the same meaning is carried in this branch of science AlamkaraShastra or Kavya Shastra. Hence it can be considered as “the science of the particular thing that which beautifies the Poetry”. In the quest of finding what causes beauty to the literary composition, the critics formulated various theories like Alamkara, Guna, Dosa, Riti, Vakrokti, Dhvani etc. Thus the particular study based on the embellishments that turned out to be the ornament to the poem or Kavya, Indian poetics named it as Alamkara Shastra. Each theory is called as a school of thought (Sampradaya) though many schools developed in Sanskrit poetics for many centuries each was not opposed to others. Each school propagated its own theory using the same poetical expressions of other schools. For instance the first writer on this kind of study who is the author of Natya Shastra Bharata spoke in particular about Rasa (Sentiment), the later critic Bhamaha and Udbhata dealt with Alamkara (Figures of Speech), Dandi spoke more about Guna than that of Alamkara (Poetic Merits), Vamana spoke about Riti (Excellence of Diction), Anandavardhana introduced Dhvani (Aesthetic Suggesion), Kuntaka spoke about Vakrokti (Indirect or Poetic Irony), Kshemendra spoke about Auchitya (Relevance). The later scholars and poets all these are different expressions of poetry that do not conflict with each other. But Rasa, Guna and Alamkara are the chief elements of a good poetry. It is a universally accepted fact that the language of poetry is different from that of prose and spoken language. They defined poetry as the combination of sound and sense (Sabdaarthau sahitau kavyam), Ishtaartha vyavachinna padavali (Dandi), tadadoshau shabdaarthau sagunavaanlamkrutihpunah kvaapi (Mammata), Vaakyam Rasamkam Kavyam (Vishwanatha) Ramaniiyaartha Pratipaadakah Kavyam (Jagannatha). All these theories did not influence on poets like Kalidasa, Bhavabhuti etc. as their poetry has unconscious freshness and spontaneity along with niceties and subtleties of expression. Kalidasa describes poetry so beautifully as comparing it to be Lord Shiva’s Arthanarishwara form as Parvati is Vac or Sabha (sound) and Shiva being Artha or Sense (meaning) in his poem Raghuvamsha Opening Sloka (Vagarthaviva sampruktau vagartha pratipattaye jagatah pitarou vande parvatiparameshwarau).

But, many works of other poets are unable to produce the desired Rasa and give the reader an experience of aesthetic delight.

In Kavya Mimamsa of Rajashekhara (10th century) speaks about the origin of Alamkara Shastra as it is has been handed over to Brahma by Lord Shiva and in turn Brahma instructed the same to 18 of his disciples dividing this Kavya Karma or Kriya Kalapa into 18 branches each but unfortunately none of the work is available except some names appear in different works as referred. They are 1. Kavi Rahasya to Sahraaksha 2. Auktikam to Uktigarbha 3. Riti to Suvarnabha 4. Anuprasa to Prachetasa 5 & 6. Chitra and Yamaka to Chitrangada and Yama 7. Shabda slesha to Shesha 8. Vastu to Pulastya 9. Aupamya to Aupakayana 10. Atisaya to Parasara 11. Arthaslesha to Uthathya 12. Ubhayaalamkara to Kubera 13. Vainodikam to Kamadeva 14. Rupaka to Bharata 15. Rasa to Nandikeshavara 16. Dosa to Dhishana 17. Guna to Upamanya and 18. Aupanishadikam to Kuchumara.

About the author of Kavyadarsha –Dandi

Dandi and Bhamaha belong to the early times of Alankarashastra who acknowledge the importance of Alamkara in the Kavya so much as they considered it as the soul of poetry. There is a big controversy on the date of these two because both lived in the same period. Bhamaha wrote Kavyalankara, and Dandi had written Kavyadarsha. There is some remarkable similarities and contrasts. All the alamkarikas of early period i.e., early stages of evolution of Indian poetics can be named as pre-dhvani period, thought that alamkaras as the most important content in kavya, though they found Rasa, Riti, Merits, De-merits (defects) do exist in kavya.

Dandi is the author of Avatisundari Katha which claims historical importance, a prose work Dasakumaracharitam and Kavyadarsha a treatise on poetics. This work is called as the mirror of poetry got a prominent place in the Alamkara Shastra and became a source of the various doctrines that developed after him. Many of his statements appeared first time in poetics in conscious and unconscious form. Kavyadarsha because of its brevity, clarity of exposition and its merits of the style guides the aspirant poets. The popularity of this book is attested by its being translated into many languages and several commentaries being available. Not only Kavyadarsha but Dandi’s literary skills as a poet is also widely known. The popular quotation upama kalidasasya, bharaverartha goouravam dandinah padalalityam maghe santi trayo gunah clearly reveals that Kalidasa is known for his Simile, Bharavi for weighty meatning of the words Dandi for his delicate words (pada lalitya) and Magha for his skill in all these three.

The contents of Kavyadarsha:

There are 660 slokas in the form of karakas divided into three chapters known as Parichhedas. The first Parichheda starts with benedictory verse and follows with introductory remarks, purpose and source of poetry definitions and types of poetry, the characteristics of an Epic poem the variations in prose writings, the poetic diction (marga) the merits (guna).

The second Parichheda is completely devoted to Alamkaras wherein he explains about thirty five Alamkaras.

The third Parichheda deals with Sabhalamkaras (figures of speech based on sound), Prahelikas (Riddles) and ten defects of poetry.

Dandi’s precise and convincing way of dealing with subject by giving subtle and scientific interpretation and analysis of concepts is definitely considered as rich contribution to the study.

Details:

Dandi praises Goddess Saraswati as all white (Sarva Shukla) and wishes that she should reside in his heart all the time. He reveals that after considering earlier treatises, and the best available usages commencing this kavyalakshanam. He feels that if Sabda is not shining in this world the whole universe would have been in dark, (1-3) and how proper use words can yield desired fruit improper use brings ill fame (1-4) more so the words in the glory of kings that reflected in poetry remain forever even after the king perishes (1-5).

Definition of Kavya:

As the ornaments on the body can be seen as separate objects having independent existence, in the same way there should be a body even for literary embellishments. Which is a alamkarya for alamkara. Hence Alamkarikas accepted Sabda (sound) and Artha (sense) as Saria (body) of the kavya. Here Dandi logically thinks that Sabda should be taken as the Sarira of the poetry which consists of series of words calculated to aptly convey a desired meaning. (Sariram tavad ishtarthavyavachinna padavali (1-10). His commentator, author of Kavyalakshana Ratna suri takes this as a perfect lakshana (definition) for poetry all because anything conveying Ishatartha, reading the line along with previous lines in the same context where Dandi talks about Vichitra Marga (diverse style of poetry). Kavya Sasira (the body of poetry) and Alamkara (the embellishments of poetry). Finally combining the three things together the Kavyalakshana can be framed as Aalamkara lshtaarthavyavachinna Vichitra marga padavali kavyam.

The body of the poem is adequately divided into three varieties Gadyam (prose), Padyam (poetry) and Misram (mixed). Padyam – the metrical verses consists four lines into two classes Vrittam (depends on letters) and Jati (depends on Syllables). He mentions different kinds of metrical verses which include in Sargabandha – compositions in cantos as Muktaka- single stanza, Kulaka-5 or more stanzas having continuity, Kosa-muktaka like stanzas having continuity in sense, Sanghata-stanzas that run in same metre.

Characteristics of Maha kavya-the Epic poem:

He deals with Sargabhandha kavya the long poem – Maha Kavya elaborately. He gives characteristics of Maha Kavya as it is – the Epic poem, such a poem possessing good figures of speech that wins the people’s heart and endures longer than a kalpa, are as follows “Composition in cantos is a long poem ( Maha kavya – Epic poem ) opens with a benediction, a salutation or mentioning the principal theme. It springs from historical incident or is otherwise based upon some fact, it turns upon the furition of the fourfold ends and its hero is clever and noble. By the description of cities, oceans, mountains, seasons and risings of the Sun and the Moon, through the sporting in garden or water and festivities of drinking and love, through sentiments of love – in – separation and through marriages and by descriptions of the birth and rise of Princes and likewise through state counsel, embassy, advance, battle and the hero’s triumph, embellished, not too condensed and pervaded all through with poetical sentiments and emotions, with cantos none too lengthy and having agreeable meteres and well- formed Sandhi’s joints and in each case with an ending in a different metre is furnished. A poem although deprived of some of these aspects is not to be condemned provided the excellence in respect of things contained in it also wins the approval of the experts. Having first set forth the hero with all his excellences through him to secure the defeat of his enemies this is a mode natural and pleasing to the readers. While having first delineated from the family the manliness, the learning and so forth even of the enemy to assert through his triumph over him the preeminence of the hero. Thus Dandi enumerated the characteristics of Maha Kavya in 1st parichheda.

There are five Maha Kavyas in Sanskrit literature which are considered as Panca Mahakavyas the five epic poems. They are 1. Raghuvamsa of Kalidasa deals with Raghu’s dynasty in 19 cantos 2. Kumara Sambhava of Kalidasa, the wedding of Shiva and Parvati, birth of Kumaraswamy in 17 cantos 3. Kiratarjuniya of Bharavi deals with the war between Shiva in the form of Kirata and Arjuna in 18 cantos 4. Sisupalavadha of Magha deals with the killing of Sisupala by Lord Krishna in 22 cantos 5. Naishadiya Charita by Sri Harsha deals with the story of King Nala and Damayanti in 22 cantos. All these five kavyas contain the whole list of characteristics of Great poem – Maha Kavya given by Dandi.

Other forms of literary compositions:

According to Dandi the Gadya or the prose is a succession of words not arranged in metres. Katha and Akhyayika are its two types of such poetical compositions. But he feels that these two are one spices denoted by two names. Katha is the narration made by the hero or any other person but while in Akhyayika the narration is made by the hero himself .

The fine mixture of prose and poetry is a kind of poetry is called Champu. Dandi is perhaps the first Alamkarika to note the existence of such poetic composition and define as gadyapadyamayi champurityabhidiyate. The prose narration with intermittent verses arranged metrically adds beauty to the poetry (1-31). The functional poetic compositions are Drushya Kavya that is presented on the stage with dance has three forms 1. Lasya – Sringara Rasa based dance performed mostly by women 2. Chalita – performed by men based on Sringara and Veers Rasas; 3. Sampa – dance performed keeping hands on the head.

The languages used in poetry is declared as fourfold Sanskrit, Prakrit, Apabhramsha and Sankara (mixed) Sargabhandha mahakavya should be written in the divine speech, i.e., Sanskirt language expounded by great sages .

Guna-the poetical excellence:

Dandi, in his monumental work Kavyadarsha, dealt with the concept of Guna which can be translated as poetic excellence. He writes: Beauty in poetry is achieved by constructive arrangement of special words; and the specialty lies in the awareness that words possess certain ‘excellences’. When a poet chooses and arranges words of specific excellences in a specific order he thereby succeeds in achieving poetic expression and literary beauty .

The style of poetic composition is of two different types Vaidarbhi and Gaudi having contrast qualities. Dandi enumerates ten qualities – the merits of expression which are considered as the soul of Vaidarbhi style the opposites of these are found in Gaudi style. They are 1. Slesha – dual meaning 2. Prasada – lucidity 3. Samata – evenness 4. Madhurya – sweetness 5. Sukumaarata – tenderness 6. Arthavyakti – explicitness of meaning 7. Udartva – exaltedness 8. Ojas – grandeur 9. Kanti – grace and 10. Samadhi – transference. Out of these ten Gunas- merits Udarata, Kanti and Samadhi are Arthagunas pertaining to Sense, Madurya is both Sabdaguna and Arthaguna.

The two styles Vaidarbhi and Gaudi are differentiated by their nature with suitable examples Dandi feels that the Sound and Sense, Sabda and Artha both should result in producing Rasa rather than resulting in vulgarity causing unpleasant cognition (1-66). After giving a detailed description of Riti, he concludes the first Parichheda with encouraging remarks as there is a great difference in the sweetness of sugarcane, of milk and of jiggery, the inborn genius can constitute the excellence in different kinds of poetry which is quite free from all defects and full with Gunas. But even an ordinary person with zeal to become a poet, though devoid of earlier latent impressions, can cultivate proper speech with the study of poetics and persistent effort. Certainly Saraswati grants her favour. Therefore an aspirant poet seeking fame should put away sloth and persistently cultivate speech even though the poetic skills are meager the efforts will put them on high pedestal in the assemblies of the wise.

Alamkaras:

In the second Parichheda he deals with figures of speech – Arthalamkaras. He made a good contribution to the importance of Alamkaras and style. He did not find any difference between Guna and Alamkaras. Dandi uses a charming and elegant style and his treatment of the topic original. He defines Alamkara as the attributes that lend elegance to poetry (Kavya shobhakaran dharaman alamkaramn prachakshate). He considers Guna are also poetic embellishments hence after describing the distinguishing styles proceeds to describe embellishments commonly exhibited in both Vaidarbhi and Gauudi margas (11-3). He states that Alamkaras are endless because anyone can find aesthetic pleasure in any kind of poetic expression. This process appealing the heart of the reader leads critics to identify more and more categories which can never come to end. Dandi mentions following thirty six Arthallamkaras : They are :

1. svabhavokti – nature description 2. upama -simile 3. rupaka- metaphor 4. dipaka – illuminator 5. avrtti – repetition 6. aksepa – interdiction 7. arthantaranyasa – corroboration 8. vyatireka – out matching 9. vibhavana – cause searching 10. samaskoti – inclusion 11. atisayokti -hyperbole 12. utpreksa – poetic conception 13. hetu – cause14. suksma –the subtle15. lesa – the slender16. krama – relative order 17. preyas- the joyous 18. rasavat–the impassioned 19. tejasvi – the vigourous20.paryayokta – periphrasis 21. samahita – facilitation22. udatta – the exalted 23. apahnuti – concealment 24.slista -paronomasia 25. visesokti – effectuation through hindrance 26. tulyayogita – equal pairing 27. virodh – contradiction 28. aprastutaprasamsa – vicarious 29 stotra – eulogy 30. vyajastuti –disguised eulogy 31. nidarsana –illustration 32. sahokti – conjoint description 33, parivrtti – barter 34. asih – benediction 35. samsrsti – Commixture 36. bhavikatva – sustained intution11-5-7).

Dandi defines Alamkaras with their deviations which were not found in his predecessor’s works and were given different names by his successors. Though aware of Rasa concept the early Alamkarikas like Dandi etc. it seems have paid much attention to Alamkaras and included Rasa in Alamkara varga as Rasvadalmkara.

Dandi defines Upama Alamkara as (yathakathanchitssadrushyam yatrodbhootampratiiyate upama nama saa tasyaah prapanchoyam pradarshyatel (11-14) where there is some sort or the other a likeness is experienced as springing up between two things that is called simile – Upama in other words the similarity between the two (upameya the thing to be described and Upamana the thing of comparison) should be explicitly present to provide aesthetic pleasure like “rajivamiva te vaktram netre nilotpale iva” the face is like red-lotus and your eyes are like two blue lotuses such are only called as figures of speech – the Alamkara but not gouriva gavayah (cow like bull) he finds a whole range of 67 words which denote similarity between the two Upamana and Upameya (sadrushya sucakah).

Sabdalamkaras , Prahelikas and Dosas :

In the third Parichheda he deals with three major topics like Sabdaalamkaras – Figures of Sound, Prahelikas – Riddles and the 10 Defects found in Poetic compositions. Dandi defines the Sabdalamkara Yamaka as “the repetition of syllabic groups, with or without other intervening syllables is Yamaka” and it occurs at the beginning in the middle and at the end.

(Avyapeta vyapeta atamaa yavrutti varna samhateh yamakam racca padama adi madhya anta gocaram). ( III.1)

For example

“Manena Manena Sakhi pranayo abhoot priye jane “- Not with this angry- pride oh! my dear friend you should show your affection for the beloved person . same string of sounds repeated but each time with a different meaning. After dealing with sabdaalamkara Yamaka with all its minute variations he explains a repetition in the reverse order to metrical four line stanza, half the stanza, or a full stanza which is called a Pratiloma Yamaka – Reverse chime.

Prahelikas :

Then after exhibiting the general method as regards to this kind of complex sound pattern of the Yamaka he proceeds to enumerate the modes to be followed as regards to different varieties of the Prahelika – the Riddle. These Riddle can be useful as past time or recreations at social gatherings, for preserving secrets among the connoisseurs only while speaking out in public places or for baffling the other party (lll-97). It also helps in increasing language skills and knowledge. He describes 16 of such Prahelikas with proper illustrations.”. The varieties of Prahelika are, like this 1. Samagata – Cohesive by means where in the coalescence of two words obscure the sense 2. Vanchita is deceptive where deception is occasioned be word the current sense of which is other than the one intended 3. Vyutkranata – Disjointed is where confusion is caused by employing words too far away syntactically 4. Pramushita – clandestine is where the group of words very hard to understand 5. Samanarupa – semblance is which is put together by words used figurative or ascribed senses 6. Parusha – the Desperate is where some sounds alone not words are forced etymology made to have a sense that is only barely possible by grammatical rules 7. Samkhyata – Numerical is where some enumeration is the cause of confusion 8. Prakalpita – Manipulative is wherein the sense of the sentence appears otherwise 9. Naamantarita – Synonymic is wherein different senses are attributed to one and the same noun 10. Nibhruta – Cryptic is that by which by means of statement that applies to something else to which the same description applies the other intended thing kept concealed 11. Samana – the Paronomic is that which is achieved by the usage of the other words 12. Sammuda – Baffling is that which baffles inspite of the sense being directly stated 13. pariharika – Restrictive is which is made up of a series of etymologist interpretations 14. Ekachanna – Obscure is a container wherein the contained is manifested but the container is obscure 15. Ubhayachanna is where both container and contained are obscure 16. Samkirna – the intermixed so where there is mixture of different characteristics” (lll-96-105). There are the sixteen Prahelikas – Riddles faultless varieties, but there are 14 more faulty Riddles which do not deserved to be defined since there can be innumerable faults possible. Defining thus he continues to give illustrations for the above faultless Riddles.

Dandi suggests that through this well laid out path but their nature is hard to master. Hence one can get their intellect clarified and attain knowledge of these difficult styles of Compositions and from the usage of learned.

Dosas – the defects:

The merits – Gunas and the defects – Doshas of Poetry should be studied carefully by the aspirant poets because defects lead to failure and merits lead to success. Dandi enumerates 10 defects which a Wiseman should avoid in his poetry. They are 1. Apartha – Senseless 2. Vyartha – Self-contradicting 3. Ekartha – Iterative 4. Asamshaya – Dubious 5. Apakrama – Defect in sequence 6. Sabdahina – Defect in word 7. Yatibhrashata – Defect in Caesura ( lack of separation of words at specific places in a metre) 8. Bhinnavrutta – Defect in metre 19. Visandhi – defect in proper break 10. Agamavirodhi. – Lack of knowledge in Vedas and Agamas. He logically points out the faults in poetic compositions.

For example kill the entire force of the enemy and win this whole earth there exists no enemy to you who are compassionate towards all beings.

Here in the above sloka, the previous sentence is contradicting the following statement about the same person .If such conflict is conveyed it is called the defect of being self- contradicting-the Vyartha dosa.

Some scholars are of the opinion that one more Parichheda fourth one is also in addition to these three found in all most all the manuscripts. This is because several verses that some others have attributed to this work do not appear in any of the known additions (Katre 1948, 1952, Singh 1979 pp 56-61, Raghavan 1978 p824). Dandi concludes his work having being exhibiting Alamkaras of Sound and Sense excellences and defects and different styles of compositions.