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काव्यमीमांसा (महाकवि राजशेखर - कवि-रहस्य एवं देश-विभाग सटीक)

काव्यमीमांसा (महाकवि राजशेखर - कवि-रहस्य एवं देश-विभाग सटीक)

Kavyamimamsa of Rajasekhara with Hindi Commentary

महाकवि राजशेखर / पं. केदारनाथ शर्मा द्वारा

DevanagariSanskritpublished381 पृष्ठ

पृष्ठ 196, कुल 381 में से

संदर्भ में पढ़ें
पृष्ठ 196

THIRD ADHYĀYA 141
the S'abda. The things that are known 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 Bhartṛhari's Vākyapadīya:—
अनादिनिधनं ब्रह्म शब्दतत्त्वं यदक्षरम् ।
विवर्ततेऽर्थभावेन प्रक्रिया जगतो यतः ॥
यो वाऽर्थो बुद्धिविषयोऽबाह्यवस्तुनिबन्धनः ।
स बाह्यं वस्त्विति ज्ञातः शब्दार्थः सम्यगिष्यते ॥
शब्दोपहितरूपांश्च बुद्धेर्विषयतां गतान् ।
प्रत्यक्षामिव कंसादीन् साधनत्वेन मन्यते ॥
न सोऽस्ति प्रत्ययो लोके यः शब्दानुगमादृते ।
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 Laghumañjūṣā of
Nāgeśabhaṭṭa.
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.
l. 4. अस्मि। This is an indeclinable particle meaning 'I'—or अहम्.
l. 9. त्वदुपज्ञम् । etc. So long Vālmīki was considered to be the
first to write in the classical śloka metre, and the first composition
attributed to him is the verse: मा निषाद, etc. (See Rāmāyaṇa,
1–2.) According to Rājaśekhara, however, this verse of Vālmīki
is much later than the compositions of Kāvyapuruṣa and Uśanas
who were the two earliest inventors of the śloka metre.
l. 12. रस आत्मा । Rasa is the soul of the Kāvya. 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 Nāṭyaśāstra
for the purpose of dramatic composition. The importance of Rasa,
however, was not fully recognized by later critics such as Bhāmaha,
Daṇḍin, and Vāmana as a standard of literary criticism
with reference to compositions other than the drama. But the
later critics advocated different theories of Alaṅkāra, Guṇa,