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

१०२ काव्यमीमांसायाम्

एर्वारुकं स्फुटननिर्गतगर्भ गन्ध-
मम्लीभवन्ति च जरत्रपुसीफलानि ॥
गेहाजिरेषु नवशालिकणावपात-
गन्धानुभावसुभगेषु कृषीवलानाम् ।
5 आनन्दयन्ति मुसलोल्लसनावधूत-
पाणिस्खलद्वलयपद्धतयो वधूट्यः ॥
तीक्ष्णं रविस्तपति नीच इवाचिराढ्यः
शृङ्गं रुरुस्त्यजति मित्रमिवाकृतज्ञः ।
तोयं प्रसीदति मुनेरिव धर्मचिन्तां
10 कामी दरिद्र इव शोषमुपैति पङ्कम् ॥
नद्यो वहन्ति कुटिलक्रमयुक्तशुक्ति-
रेखाङ्कबालपुलिनोदरसुप्तकूर्माः ।
अस्यां तरङ्गितनुतोयपलायमान-
मीनानुसारिबकदत्तकरालफालाः ॥
15 अपङ्किलतटावटः शफरफाण्टफालोज्ज्वलः
पतत्कुररकातरभ्रमददभ्रमीनार्भकः ।
लुठत्कमठसैकतश्वलबकोटवाचाटितः
सरित्सलिलसंचयः शरदि मेदुरः सीदति ॥”
शरत् ॥
20 “द्वित्रिमुचुकुन्दकलिकस्त्रिचतुरमुकुलः क्रमेण लवलीषु ।
पञ्चषफलिनीकुसुमो जयति हिमर्तुर्नवावतरः ॥
पुन्नागरोध्रप्रसवावतंसा वामभ्रुवः कञ्चुककुञ्चिताङ्ग्यः ।
वक्त्रोल्लसत्कुङ्कुमसिक्र्थकाङ्काः सुगन्धतैलाः कबरीर्वहन्ति ॥
यथा यथा पुष्यति शीतकालस्तुषारचूर्णोत्करकीर्णवातः ।
25 तथा तथा यौवनशालिनीनां कवोष्णतामत्र कुचा लभन्ते ॥
वराहवघ्राणि नवौदनानि दधीनि सन्नद्धशराणि चात्र ।
सुकोमलाः सर्षपकन्दलीश्च भुक्त्वा जनो निन्दति वैद्यविद्याम् ॥

पाद-टिप्पणी (Footnotes):
१ V चित्तं. २ V मेघः. ३ V दन्त. ४ V सिक्तकाङ्काः. ५ B वर्ष्मा. A घ्राणि.
६ V ०रसानि.

रहस्ये अष्टादशोऽध्यायः । १०३
अत्रोपचारः सलिलैः कवोष्णैर्यत्किञ्चिदत्र खदतेऽन्नपानम् ।
सुदुर्भगामत्र निपीड्य शेते स्वस्त्यस्तु नित्यं तुहिनर्त्तवेऽस्मै ॥
विमुक्तबर्हा विमदा मयूराः प्ररूढगोधूमयवा च सीमा ।
व्याघ्रीप्रसूतिः सलिलं सबाष्पं हेमन्तलिङ्गानि जयन्त्यमूनि ॥
सशमीधान्यपाकानि क्षेत्राण्यत्र जयन्ति च ।
त्रिशङ्कुतिलका रात्र्यः पच्यन्ते लवणानि च ॥
उद्यानानां मूकपुंस्कोकिलत्वं भृङ्गस्त्रीणां मौनमुद्रा मुखेषु ।
मन्दोद्योगा पत्रिणां व्योमयात्रा हेमन्ते स्यात्सर्पदर्पक्षयश्च ॥
कर्कन्धूनां नागरङ्गीफलानां पाकोद्रेकः खाण्डवोप्याविरस्ति ।
कृष्णेक्षूणां पुण्ड्रकाणां च गर्भे माधुर्यश्रीर्जायते चाप्यपूर्वा ॥
येषां मध्येमन्दिरं तल्पसम्पत् पार्श्वे दाराः स्फारतारुण्यताराः ।
लीलावह्निर्निहुतोद्दामधूमस्ते हेमन्तं ग्रीष्मशेषं विदन्ति ॥”
इति हेमन्तः । हेमन्तधर्मः(र्मा) शिशिरः ।
विशेषस्तु—“रात्रिर्विचित्रसुरतोचितयामदैर्घ्या
चण्डो मरुद्वहति कुङ्कुमपङ्कसाध्यः ।
तल्पस्थितिर्द्विगुणतूलपटा किमन्य-
दर्घन्ति चात्र विततागुरुधूपधूमाः ॥
आश्लेषिणः पृथुरतक्लमपीतशीत-
मायामिनीं घनमुदो रजनीं युवानः ।
ऊर्वोर्मुहुर्वलनबन्धनसंधिलोल-
पादान्तसंवलिततूलपटाः क्षपन्ति ॥
पानेऽम्भसोः सुरसनीरसयोर्न भाति
स्पर्शक्रियासु तुहिनानलयोर्न चात्र ।
नो दुर्भगासुभगयोः परिरम्भणे च
नो सेवने च शशिभास्करयोर्विशेषः ॥
१ V हरन्ति च. २ B षाह. ३ V दीर्घा.

१०४ काव्यमीमांसायाम्
पुष्पक्रिया मरुबके जलकेलिनिन्दा
कुन्दान्यशेषकुसुमेषु धुरि स्थितानि ।
सौभाग्यमेणतिलकाद्ब्रजतेऽर्कबिम्बं
काले तुषारिणि दहन्ति च चन्दनानि ॥
५ सिद्धार्थयष्टिषु यथोत्तरहीयमान-
सन्तानभिन्नघनसूचिपरम्परासु ।
द्वित्रावशेषकुसुमासु जनिक्रमेण
पाकक्रमः कपिशिमानमुपादधाति ॥
उदीच्यचण्डानिलताडितासु
१० १सुलीनमीनासु जलस्य मूले ।
नालावशेषाब्जलतास्विदानीं
विलासवापीषु न याति दृष्टिः ॥
माद्यन्मतङ्गः पृषतैकतोषी
२पुष्यद्द्वराहो धृतिमल्लुलायः ।
१५ दरिद्रनिन्द्यः ३सधनैकवन्द्यः
स एष कालः शिशिरः करालः ॥
अभिनववधूरोषस्वादुः करीषतनूनपा-
दसरलजनाश्लेषक्रूरस्तुषारसमीरणः ।
गलितविभवस्याज्ञेवाद्य द्युतिर्मसृणा रखे-
२० र्विरहिवनितावक्त्रौपम्यं बिभर्त्ति निशाकरः ॥
स्त्रियः प्रकृतिपित्तलाः क्वथितकुङ्कुमालेपनै-
र्नितम्बफलकस्तनस्थलभुजोरुमूलादिभिः ।
इहाभिनवयौवनाः सकलरात्रिसंश्लेषितै-
र्हरन्ति शिशिरज्वरारतिमतीव पृथ्वीमपि ॥”
२५ शिशिरः ॥
“चैत्रे मदद्धिः शुकसारिकाणां
हारीतदात्यूहमधुव्रतानाम् ।
१ V निलीनमीनासु. २ V B & V C पुष्यद्दराहा. ३ V C सधनैकमन्यः.

कवि रहस्ये अष्टादशोऽध्यायः । १०५
पुंस्कोकिलानां सहकारबन्धुः
मदस्य कालः पुनरेष एव ॥
मनोऽधिकं चात्र विलासलासैः
प्रेङ्खासु दोलासु च सुन्दरीणाम् ।
गीते च गौरीचरितावतंसे
पूजाप्रपञ्चे च मनोभवस्य ॥
पुंस्कोकिलः कूजति पञ्चमेन
बलाद्विलासा युवतौ स्फुरन्ति ।
स्मरो वसन्तेऽत्र नवैः प्रसूनैः
स्वचापयष्टेर्घटनां करोति ॥
पिनद्धमाहारजनांशुकानां
सीमन्तसिन्दूरजुषां वसन्ते ।
स्मरीकृते प्रेयसि भक्तिभाजां
विशेषवेषः स्वदते वधूनाम् ॥
अयं प्रसूनेाद्धुरकर्णिकारः
पुष्पप्रपञ्चार्चितकाञ्चनारः ।
विजृम्भणाकोविदकोविदारः
कालो विकाशोद्यतसिन्दुवारः ॥
रोहीतकास्रातककिङ्किराता
मधूकमोचाः सह माधवीभिः ।
जयन्ति शोभाञ्जनकश्च शाखी
सकेसरैः पुष्पभरैर्वसन्ते ॥
यो माधवीमुकुलदृष्टिषु वेणिबन्धो
यः कोकिलाकलारुते कथने च लाभः ।
पूजाविधिर्दमनकेन च यः स्मरस्य
तस्मिन्मधुः स भगवान्गुरुरङ्गनानाम् ॥
१. V रजतां. २ V शेखरः. ३ V रुतेः.
१४

१०६ काव्यमीमांसायाम्
नालिङ्गितः कुरबकस्तिलको न दृष्टो
नो ताडितश्च चरणैः सुदृशामशोकः ।
सिक्तो न वक्त्रमधुना बकुलश्च चैत्रे
चित्रं तथापि भवति प्रसवावकीर्णः ॥
चैत्रे चित्रौ रक्तनीलावशोकौ
स्वर्णाशोकस्तत्तृतीयश्च पीतः ।
जैत्रं तन्त्रं तत्प्रसूनैर्नरेभ्यः
चेतोयोनेः भूर्भुवःस्वस्त्रयेऽपि ॥
गूवाकानां नालिकेरद्रुमाणां
हिन्तालानां पाटलीकिंशुकानाम् ।
खर्जूराणां ताडताडीतरूणां
पुष्पापीडन्यासहेतुर्वसन्तः ॥
वसन्तः ॥
विकाशकारी नवमल्लिकानां
दलच्छिरीषप्रसवाभिरामः ।
पुष्पप्रदः काञ्चनकेतकीनां
ग्रीष्मोऽयमुल्लासितधातकीकः ॥
खर्जूरजम्बूपनसाग्रमोच-
प्रियालपूगीफलनालिकेरैः ।
द्वन्द्वानि खेदालसताँमु(म)पास्य
रतानुसन्धानमिहाद्रियन्ते ॥
स्रोतांस्यनम्भांसि सकूपकानि
प्रपाः कठोरेऽहनि पान्थपूर्णाः ।
शुचौ सँमभ्यर्थि(र्धि)तसक्तुपाने
प्रगे च सायं च वहन्ति मार्गाः ॥
यत्कायमानेषु दिनार्द्धनिद्रा
यत्स्नानकेलिर्दिवसावसाने ।
१ V द्रुमाणां. २ V मालिकानां. ३ V ०मपास्य. ४ V समभ्यर्चितसक्तुधाने०.

कविरहस्ये अष्टादशोऽध्यायः । १०७

यद्रात्रिशेषे सुरतावतारः
स मुष्टियोगो घनघर्ममाथी ॥
या चन्द्रिका चन्दनपङ्कहृद्या
या जालमार्गानिलवीचिमाला ।
या तालवृन्तैरुदबिन्दुवृष्टि-
र्जलाञ्जलिं सा शुचये ददाति ॥
कर्पूरचूर्णं सहकारभङ्ग-
स्ताम्बूलमार्द्रक्रमूकोपक्लृप्तम् ।
हाराश्च तारास्तनुवस्त्रमेत-
न्महारहस्यं शिशिरक्रियायाः ॥
मुक्तालताश्चन्दनपङ्कदिग्धा
मृणालहारानुसृता जलार्द्राः ।
स्रजश्च मौलौ स्सि(सि)तचम्पकानां
ग्रीष्मेऽपि सोऽयं शिशिरावतारः ॥”
अत्र हि—“पच्यन्त इव भूतानि ताप्यन्त इव पांसवः ।
कथ्यन्त इव तोयानि ध्मायन्त इव चाद्रयः ॥
ऐणाः स्थलीषु मृगतृष्णिकया हियन्ते
स्रोतस्तनुत्वजनिता जलवेणिबन्धाः ।
ताम्यत्तिमीनि च सरांसि जलस्य शोषा-
दुद्धारघट्टघटिकावलयाश्च कूपाः ॥
करभाः शरभाः सरासभा
मदमायान्ति भजन्ति विक्रियाम् ।
करवीरकरीरपुष्पिणीः
स्थलभूमिरधिरुह्य चासते ॥
सहकाररसार्चिता रसाला
जलभक्तं फलपानकानि मन्थाः ।

१ V चूर्णः. २ V एण्यः. ३ A ०दुद्धारघट०.

१०८ काव्यमीमांसायाम्

मृगलावरसाः शृतं च दुग्धं
सरसञ्जीवनमौषधं निदाघे ॥
जडचन्दनचारुवस्तरुण्यः
सजलार्द्राः सहतारहारमालाः ।
कदलीदलतल्पकल्पनस्थाः
स्मरमाहूय निवेशयन्ति पार्श्वे ॥
ग्रीष्मे चीरीनादवन्तो वनान्ताः
पङ्काभ्यक्ताः सैरिभाः सेभकोलाः ।
लोलजिह्वाः सर्पसारङ्गवर्गा
मूलस्रस्तैः पत्रिणश्चांसदेशैः ॥
हर्म्यं रम्यं चन्द्रिकाधौतपृष्ठं
कान्तोच्छिष्टा वारुणी वारिमिश्रा ।
मालाः कण्ठे पाटलामल्लिकानां
सद्यो ग्रीष्मं हन्त हेमन्तयन्ति ॥
ग्रीष्मः ॥
चतुरवस्थश्च ऋतुरुपनिबन्धनीयः। तद्यथा—सन्धिः, शैशवं, प्रौ-
ढिः, अनुवृत्तिश्च। ऋतुद्वयमध्यं सन्धिः। शिशिरवसन्तसन्धिर्यथा—
“च्युतसुमनसः कुन्दाः पुष्पोद्गमेष्वलसा द्रुमा
मनसि च गिरं गृह्णन्तीमे गिरन्ति न कोकिलाः।
अथ च सवितुः शीतोल्लासं लुनन्ति मरीचयो
न च जरठतामालम्बन्ते क्लमोदयदायिनीम् ॥”
वसन्तशैशवम्—
“गर्भग्रन्थिषु वीरुधां सुमनसो मध्येऽङ्कुरं पल्लवा
वाञ्छामात्रपरिग्रहः पिकवधूकण्ठोदरे पञ्चमः ।
किं च त्रीणि जगन्ति जिष्णु दिवसैर्द्वित्रैर्मनोजन्मनो
देवस्यापि चिरोज्झितं यदि भवेदभ्यासवश्यं धनुः ॥”

१ V सर्वसारङ्ग०. २ V किरन्ति.

कविरहस्ये अष्टादशोऽध्यायः । १०९
वसन्तप्रौढिः—
“साम्यं सम्प्रति सेवते विचकिलं षाण्मासिकैर्मौक्तिकैः
कान्तिं कर्षति काञ्चनारकुसुमं माञ्जिष्ठधौतातपात् ।
हूनीनां कुरुते मधूकमुकुलं लावण्यलुण्टाकतां
लाटीनाभिनिभं चकास्ति च पतद्वृन्ताग्रतः केसरम् ॥”
अतिक्रान्तर्तुलिङ्गं यत्कुसुमाद्यनुवर्त्तते ।
लिङ्गानुवृत्तिं तामाहुः सा ज्ञेया काव्यलोकतः ॥
वर्षासु ग्रीष्मलिङ्गाब्जविकासानुवृत्तिः ।
यथा—“खं वस्ते कलविङ्ककण्ठमलिनं कादम्बिनीकम्बलं
चर्चां पारयतीव दर्दुरकुलं कोलाहलैरून्मदम् ।
गन्धं मुञ्चति सिक्तलाजसदृशं वर्षेण दग्धा स्थली
दुर्लक्ष्योऽपि विभाव्यते कमलिनीहासेन भासां पतिः ॥”
एवमन्येऽपि ।
किञ्च—ग्रैष्मिकसमयविकासी कथितो धूलीकदम्ब इति लोके ।
जलधरसमयप्राप्तौ स एव धाराकदम्बः स्यात् ॥
यथा— “धूलीकदम्बपरिधूसरदिङ्मुखस्य
रक्तच्छटासुरशरासनमण्डनस्य ।
दीप्तायुधाशनिमुचो ननु नीलकण्ठ
नोत्कण्ठसे समरवारिधरागमस्य ॥”
जलसमयजायमानां जातिं यां काईमीति निगदन्ति ।
सा शरदि महोत्सविनी गन्धान्वितषट्पदा भवति ॥
यथा—“स्थूलावश्यायबिन्दुद्यु(द्रु)तिदलितबृहत्कोरकग्रन्थिभाजो
जात्या जालं लतानां जरठपरिमलप्लावितानां जजृम्भे ।
नानाहंसोपधानं सपदि जलनिधेश्चोत्ससर्पापरस्य
ज्योत्स्नाशुक्लोपधानं शयनमिव शशी नागभोगाङ्कमूर्तेः ॥
स्तोकानुवृत्तिं केतक्या अपि केचिदिच्छन्ति ।
१ V कर्दमेन जनयन्ति. २ CB ॰मुक्तोपधानं.

११२ अष्टादशोऽध्यायः।
लकुचाद्यन्तर्व्याजं तथा बहिर्व्याजमत्र मोचादि ।
आम्राद्युभयव्याजं सर्वव्याजं च ककुभादि ॥
पनसादि बहुव्याजं नीलकपित्थादि भवति निर्व्याजम् ।
सकलफलानां षोढा ज्ञातव्यः कविभिरिति भेदः ॥
एकद्वित्र्यादिभेदेन सामस्त्येनाथवा ऋतून् ।
प्रबन्धेषु निबध्नीयात्क्रमेण व्युत्क्रमेण वा ॥
न च व्युत्क्रमदोषोऽस्ति कवेरर्थपथस्पृशः ।
तथा कथा कापि भवेद् व्युत्क्रमो भूषणं यथा ॥
अनुसन्धानशून्यस्य भूषणं दूषणायते ।
सावधानस्य च कवेर्दूषणं भूषणायते ॥
इति कालविभागस्य दर्शिता वृत्तिरीदृशी ।
कवेरिह महान्मोह इह सिद्धो महाकविः ॥
इति राजशेखरकृतौ काव्यमीमांसायां कविरहस्ये प्रथमेऽधिकरणे
कालविभागो नाम अष्टादशोऽध्यायः ॥
समाप्तमिदं प्रथममधिकरणं कविरहस्यं काव्यमीमांसायाम् ॥
१ V कपिच्छादि.

EXPLANATORY NOTES.
Notes enclosed within square brackets [ ] belong
to preveious Editions.
Page 1

• [ l. 1. अथातः काव्यं मीमांसिष्यामहे. Hemacandra has named his
  work on Nyāya as प्रमाणमीमांसा. The first sūtra of his work is “अथ
  प्रमाणमीमांसा”. For the propriety of the words अथ and मीमांसा cf.
  Hemacandra’s vṛtti on the same.
  “अथेत्यस्याधिकारार्थत्वाच्छास्त्रेणाधिक्रियमाणस्य प्रस्तूयमानस्य 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 शास्त्रसिद्धिरायुष्मच्छ्रोतृकता
  च भवति । परमेष्ठिनमस्कारादिकं तु मङ्गलं कृतमपि न निवेशितं लाघवार्थिना शास्त्रकारेणेति ।
  प्रकर्षेण संशयादिव्यवच्छेदेन मीयते परिच्छिद्यते वस्तुतत्त्वं येन तत्प्रमाणम् । प्रमायां साधक-
  तमम् । तस्य मीमांसोद्देशादिरूपेण पर्यालोचनम् । त्रयी हि शास्त्रस्य प्रवृत्तिरुद्देशो लक्षणं परीक्षा च । तत्र
  नामधेयमात्रकीर्तनमुद्देशः यथेदमेव सूत्रम् । उद्दिष्टस्यासाधारणधर्मवचनं लक्षणम् । तद्द्वेधा सामान्यलक्षणं
  विशेषलक्षणं च । सामान्यलक्षणमनन्तरमेव सूत्रम् । विशेषलक्षणं विशदः प्रत्यक्षमिति । विभागस्तु
  विशेषलक्षणस्यैवाङ्गमिति न पृथगुच्यते । लक्षितस्येदमित्थं भवति नेत्थमिति न्यायतः परीक्षणं परीक्षा
  यथा तृतीयसूत्रम् । पूजितविचारवचनश्च मीमांसाशब्दस्तेन न प्रमाणमात्रस्यैव विचारोऽत्राधिकृतः ।
  किन्तु तदेकदेशभूतानां दुर्नयनिराकरणद्वारेण परिशोधितमार्गाणां नयानामपि । “प्रमाणनयैरधिगमः”
  इति हि वाचकमुख्यः । सकलपुरुषार्थेषु मूर्धाभिषिक्तस्य सोपायस्य सप्रतिपक्षस्य मोक्षस्य च । एवं हि
  पूजितो विचारो भवति । प्रमाणमात्रविचारस्तु प्रतिपक्षनिराकरणपर्यवसायी वाक्छलमात्रं स्यात् ।
  तद्विवक्षायां तु अथ प्रमाणपरीक्षेत्येव क्रियेत । तत् स्थितमेतत् प्रमाणनयपरिशोधितप्रमेयमार्गं सोपायं
  सप्रतिपक्षमोक्षं विवक्षितुं मीमांसाग्रहणमकार्याचार्येणेति ॥ १ ॥” For अथातः cf. also
  “अथातो ब्रह्मजिज्ञासा” ब्र. सू. 1-1-1 and the Bhāṣya. ]
  l. 1. अथातः । Generally original writers in the sūtra style
  begin their treatises with the words either अथातः or अथ. Āpastamba,
  Kaṇāda, Jaimini and Bādarāyaṇa in their respective sūtra works
  use the words अथातः in the beginning, while Patañjali begins with
  अथ in his works on Yoga and Grammar. Eminent Bhāṣyakāras
  such as S'abarasvāmin, S'aṅkarācārya and Patañjali interpret the
  word अथ generally in two senses, i. e. आनन्तर्य and अधिकार. आनन्तर्य
  is meant when अथ is followed by the word अतः 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

114 EXPLANATORY NOTES
by Bhavadāsa and other Vṛttikāras on Jaimini earlier than S'abara
(cir. 500 A. D.), has been cited and refuted in the S'lokavārttika
by Kumārila (see Kārikās 1. 33, 34, 63).
Prabhākarabhaṭṭa also, while commenting on S'abarasvāmin
introduces this view of Bhavadāsa and refutes it in his work
entitled the Bṛhatī, saying: 'लोके' इत्यादिभाष्यस्याथातः शब्दस्यालौकिकार्थाशङ्का-
निवृत्तिः प्रयोजनम् । (1. 1. 1.)
Some Vṛttikāras, such as Rudradatta and others while
commenting on the first sūtra अथातो दर्शपूर्णमासौ व्याख्यास्यामः of the
Āpastambaśrauta, take the two words अथातः to mean only
आनन्तर्य following Bhavadāsa. S'abarasvāmin, however, refutes this
view of Bhavadāsa with care and establishes the meanings of आनन्तर्य
for अथ and हेतुभाव for the word अतः in the sūtra अथातो धर्मजिज्ञासा of
Jaimini. Other commentators such as Dhūrtasvāmin, S'aṅkara-
miśra and others, in their works on Āpastamba and Kaṇāda, take
the word अथ to indicate 'Maṅgala'. But S'aṅkarācārya in his
Bhāṣya on Bādarāyaṇa sūtra disapproves of this and takes अथ
to mean only आनन्तर्य, saying: अर्थान्तरप्रयुक्त एव ह्यथशब्दः श्रुत्या मङ्गलप्रयोजनो
भवति । For other meanings of the word अथ reference may be made
to the verses:—
मङ्गलानन्तरारम्भप्रश्नकात्स्न्र्येष्वथो अथ । (Amarakośa 3. 246.)
and ओङ्कारश्चाथशब्दश्च द्वावेतौ ब्रह्मणः पुरा ।
कण्ठं भित्त्वा विनिर्यातौ तस्मान्माङ्गलिकावुभौ ॥
Rājaśekhara also begins his work with the words अथातः and
this shows that he intends to write his Kāvyamīmāṁsā in the
sūtra style. Here अथ cannot mean अधिकार because of the finite
verb मीमांसिष्यामहे, as also because it is followed by the word अतः.
आनन्तर्य alone, therefore, is better fitted here than अधिकार and हेतुभाव
for the word अतः। आनन्तर्य obviously connects two events and,
therefore, requires a previous event after which the Kāvya-
mīmāṁsā may be composed by him. What then is that event
after which Rājaśekhara composed the Kāvyamīmāṁsā? 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 Kaṇāda, Āpastamba and others
after which, they thought the work was composed by their
respective authors.

FIRST ADHYĀYA 115
It may be suggested here that गुरुपर्वक्रम is to be taken as the
previous event required by the word अथ, as Rājaśekhara himself
enumerates the teachers of the Kāvyamīmāṁsā in the sentence
beginning with यथोपदिदेश श्रीकण्ठः, etc. In this case, therefore, the
word अथ suggests that Rājaśekhara composed the Kāvyamīmāṁsā
after having been taught by his own Guru who was the last in the
list of teachers beginning with Śrīkaṇṭha. This is what is
called गुरुपर्वक्रम.
A suggestion of this kind is also made by Kumārilabhaṭṭa
while explaining the word अथ in the sūtra अथातो धर्मजिज्ञासा 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 Pārthasārathi's commentary on
Kumārila is noteworthy :—
“पर्वे अवच्छेदः । गुरुपर्वेणां क्रमः गुरुपर्वक्रमः । तद्यथा ‘ब्रह्मा प्रजापतये मीमांसां प्रोवाच ।
सोऽपीन्द्राय । सोऽप्यादित्याय । स च वसिष्ठाय । सोऽपि पराशराय । पराशरः कृष्णद्वैपायनाय । सोऽपि
जैमिनये । स च स्वोपदेशानन्तरमिमं न्यायं ग्रन्थे निबद्धवान्’ इति । सोऽयमेवंविधः संबन्धो निष्फलो
निर्हेतुकश्च । नह्यस्मिन् संबन्धे किंचित्प्रमाणमस्ति’ । इति । (Nyāyaratnākara, p. 8).
It is necessary, therefore, to find out a reasonable circum-
stance which may have preceded the composition of the Kāvya-
mīmāṁsā. That circumstance seems to be the composition of
other earlier Kāvyas. Here the word अथ seems to indicate
that after composing the Kāvyas and Nāṭakas, the author begins
composing the Kāvyamīmāṁsā. It is easy now to understand
the meaning of the word अतः. This word indicates वृत्तस्य हेतुभाव.
Here वृत्त is काव्यनाटककरण. This is the exact event that precedes
the composition of the Kāvyamīmāṁsā. To explain the necessities
of a poet and the method of composition which are treated of in
the Kāvyamīmāṁsā, a writer should first gain experience as a poet
and compose several works on different subjects. The words अथ
and अतः, therefore, indicate as follows :—
अथ=बालरामायणहरविलासादिदृश्यश्रव्यकाव्यकरणानन्तरम् ।
अतः=काव्यविचारात्मकमीमांसाशास्त्रस्य काव्यकरणानन्तरमेव सुकरत्वाद्धेतोः ।
The word अतः can, however, be explained from a different stand-
point. This word being derived from a सर्वनाम, is used here to
mean the desired object (बुद्धिस्थपरामर्शी). In that case अतः means
श्रीकण्ठमारभ्य प्रवृत्तस्य काव्यमीमांसाशास्त्रस्योच्छिन्नत्वाद्धेतोः । Therefore, the construc-

116 EXPLANATORY NOTES
tion of the further text from यथोपदिदेश to the end of the
sentence इत्थङ्कारं च प्रकीर्णत्वात् (P. 1. l. 14.) with this प्रतिज्ञावाक्य appears
quite logical and coherent.
l. 1. काव्यम्। This word denotes the purpose of this Mīmāṁsā-
śāstra. It is necessary that in the beginning of every work or
śāstra the result obtained from such work or śāstra should be
stated in order that those who read may readily be interested in it.
This practice is observed by all Sūtrakāras. Kumārilabhaṭṭa
explains this in the following Kārikā :-
सर्वस्यैव हि शास्त्रस्य कर्मणो वापि कस्यचित्। यावत्प्रयोजनं नोक्तं तावत्तत् केन गृह्यते ॥
(S'lokavārttika I. 12.)
l. 1. मीमांसिष्यामहे। This verb also indicates that Rājaśekhara
wrote his work in the sūtra style in the same way as other
S'rauta, Gṛhya 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 मीमांसा is to be
taken as पूजितविचार. The result obtained from this Mīmāṁsā is
काव्यविद्यासिद्धि, just as धर्मज्ञान and ब्रह्मज्ञान are obtained from the पूर्वोत्तरमीमांसा।
l. 1. श्रीकण्ठः etc. Here Rājaśekhara intends to record the
गुरुपरम्परा of this Mīmāṁsāśāstra 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 compose this work while the Science had already been
well-established by his predecessors. S'rīkaṇṭha and Brahman are
considered by the author as the originators of this Mīmāṁsāśāstra
in the same way as Pāṇini and Kaṇāda are said to have obtained
the knowledge of their śāstras from Mahādeva, or as Dharma-
mīmāṁsā and Bharata's Nāṭyaśāstra are said to have originated
from Brahman.
l. 1. परमेष्ठि. S'rīkaṇṭha delivered lectures on Kāvyamīmāṁsā
or criticisms on Kāvyas to his 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 Bhṛgu
and others according to the Vāyupurāṇa (Adh. 65.) and the
same statement is made by Rājaśekhara following the same Purāṇa
on p. 28. l. 14 of the Kāvyamīmāṁsā.

• [ l. 2. चतुःषष्टये शिष्येभ्यः। Cf. ब्रह्मविष्णुरुद्रगुहबृहस्पतिभार्गवादिशिष्येषु चतुः-
  षष्टाबुद्धिदं वचः पारमेश्वरम्। (Kāvyamīmāṁsā p. 29 ) ]

FIRST ADHYĀYA 117
l. 2. चतुःषष्टये। Here the number 64 is exceedingly interesting.
The Pāñcālas used the number 64 in their classifications. Ṛgveda
has been divided into 64 Adhyāyas comprising 8 Aṣṭakas 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 Prakaraṇas (V. S. 1. 3. 14-17 and 2. 2. 3-4)
Bharata in his Nāṭyaśāstra enumerates 64 Nāṭyāṅgās and S'āradā-
tanaya divides countries in the Bhāratavarṣa 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 Aṣṭādhyāyī.
In giving the number 64 to the disciples of S'rīkaṇṭha, it appears
that Rājaśekhara also followed the same tradition. His eight
kinds of poets and 32 kinds of Kāvyārthaharaṇas or plagiarisms
(p. 65) also show his leaning towards the same tradition.
l. 3. सारस्वतेयः etc. The story of Sārasvateya—Kāvyapuruṣa,
as one of the originators of the Kāvyamīmāṁsā, seems to have
been borrowed by Rājaśekhara from the Harṣacarita of Bāṇa.
Bāṇa, in his auto-biography found a Sārasvateya the son of
Sarasvatī and Dadhīca Bhārgava, through whom Vatsa, the first
male representative of his family, got the knowledge of all sciences
and the Vedas.
The origin of this story of Sārasvateya is traceable in many
Purāṇas. But they differ from one another in many respects.
Bāṇa and Rājaśekhara seem to have mainly followed the Vāyu-
purāṇa for this idea of Sārasvateya as the version preserved
in this Purāṇa agrees mainly with that given in their works.
The special leaning of Rājaśekhara towards the Vāyupurāṇa is also
demonstrated by his references to that Purāṇa later on on page
28 l. 12. According to the Vāyupurāṇa Bhṛgu or Kavi, the first
son of Brahman, had Cyavana as his son through Paulomī, and
this Cyavana also had two sons Dadhīca and Ātmavāna through
Sukanyā. Dadhīca married Sarasvatī and got a Sārasvateya
as his son who was learned in all S'āstras through the blessings
of his mother, but was childless. Ātmavāna, the brother of
Dadhīca, on the other hand, got the sons Aurva and others and
through them the family of Bhṛgu expanded. In this family was
born Vatsa the Mūlapuruṣa of the Vātsyāyana Gotra to which
Bāṇa also belonged (vide, Vāyu. Adh. 65). Bāṇa followed the
same succession list as found in the Vāyupurāṇa in the 1st chap-

118 EXPLANATORY NOTES
ter of the Harṣacarita and adduced some reasons to explain why
Sarasvatī had to marry Dadhīca and how Vatsa, Bāṇa's Gotraguru,
was connected with Sārasvateya.
The Vāyupurāṇa and the Harṣacarita seem to have offered
materials to Rājaśekhara who while describing the story of
Kāvyapuruṣa, the son of Sarasvatī, 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.
l. 3. वृन्दीयसाम्:—more important gods. The word वृन्दारक means
divine beings or Devas and it transforms itself into वृन्दीयस् in
comparative (vide Pāṇini 6-4-157).
l. 4. काव्यपुरुषः—Bhṛgu and S'ukra are known as Kavi.
Sārasvateya the descendent of their family is, therefore, called
Kāvyapuruṣa (vide Pāṇini 4. 1. 151).
l. 4. दिव्येन चक्षुषा:—through divine power. This accounts for
his knowledge of सर्वसमय and भविष्यदर्थ.
l. 6. काव्यविद्या:—science of poetical composition.
l. 6. अष्टादशाधिकरणी:—the collection of 18 Adhikaraṇas 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
Mīmāṁsāśāstras, is called an Adhikaraṇa. This technical dis-
cussion is defined as:—
विषयो विशयश्चैव पूर्वपक्षस्तथोत्तरः । प्रयोजनं च (संगतिश्चेति) पञ्चाङ्गं प्राञ्चोऽधिकरणं विदुः ॥
According to this definition an Adhikaraṇa must consist of
five limbs, namely, विषय etc., which constitute the actual discussion.
Though Rājaśekhara is not entirely in accord with this definition
in his Adhikaraṇa of Kavirahasya, his discussions have five limbs
such as विषय etc., particularly in respect of the nature of poets,
origin of poetry, etc. (2) Secondly, the word Adhikaraṇa means
the court of justice. Here Rājaśekhara records his own judgment
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 Adhikaraṇas found in the Arthaśāstra and the Kāmaśāstra

FIRST ADHYĀYA 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 reject them.
(3) Thirdly, the word Adhikaraṇa is used in a popular sense
signifying a full discussion of a particular topic (अधिक्रियन्ते प्रस्तूयन्ते
अर्थाः अस्मिन्निति अधिकरणम्). This explanation, of course, covers the
Adhikaraṇa division of the Artha and Kāma śāstras which are
divided respectively into 15 and 7 Adhikaraṇas, each having several
Adhyāyas. In the case the word is synonymous with the word
अध्याय or अधिकार, and does not include the technical Adhikaraṇa
of five factors: विषय, संशय etc.
l. 7. स्नातकेभ्यः. Snātakas are those who after studying the
Vedas, take the final bath or स्नान, live the life of a householder
and observe some rules for cleanliness as prescribed in the Dharma-
śāstras. (For the rules of a Snātaka, see for instance, Gautama's
Dharmasūtra, chapter 9). They belong to the order of a house-
holder and not of a Brahmacārin. Here Rājaśekhara points to
the divine Snātakas who after finishing the study of Kāvyavidyā
take a bath to follow the rules of a Snātaka. In this connection
it is to be remembered that Dharmamīmāṁsā is to be studied after
studying the Vedavidyā and before one becomes a Snātaka. (See
Jaimini's sūtra अथातो धर्मजिज्ञासा। 1-1-1). In order that greater respect
may be shown to his Mīmāṁsā, Rājaśekhara mentions that the
Kāvyamīmāṁsa was taught to Kāvyavidyā-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 अष्टादशाधिकरणीं and स्नातकेभ्यः show that Kāvyapuruṣa taught
all the 18 Adhikaraṇas to a corsiderable number of divine Snātakas.

• [l. 8. 'सुवर्णनाभः। This name occurs also in the Kāmasūtra;
  “सुवर्णनाभः सांप्रयोगिकम् ।” (काम. सू. 1. 1-13).]
  l. 8. समाम्नासीत्. Out of those divine Snātakas who studied
  the Kāvyamīmāṁsā of 18 sections from Kāvyapuruṣa, Sahasrākṣa
  composed a treatise on the Kavirahasya only. The root म्ना
  preceded by सम् and आ indicates that the Snātakas separately
  composed different treatises dealing with each section of the Kāvya-
  mīmāṁsā; 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: इति ततस्ते पृथक् पृथक् स्वशास्त्राणि
  विरचयाञ्चक्रुः। l. 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
Sahasrākṣa and others are entirely new in the field of Alaṅkāra
literature. Though some early writers on poetics, rhetoric and
dramaturgy such as S'ilāli, Kṛśāśva, Kāśyapa, Vararuci and
Medhāvin are known through the writings of Pāṇini, Bhāmaha
and Daṇḍin, none of them, however, is mentioned here as the
author of any subject. Rājaśekhara, indeed, mentions a few
names such as Bharata, Kucamāra, Suvarṇanābha and Nan-
dikeśvara who are fairly known, but the names of Sahasrākṣa 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, Daṇḍin, Vāmana, Udbhaṭa, Ānandavar-
dhana and Rudraṭa who were earlier than Rājaśekhara 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 Rājaśekhara 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, औक्तिकमुक्तिगर्भः, निर्णयं सुवर्णनाभः,
चित्रं चित्राङ्गदः, श्लेषं शेषः, औपम्यमौपकायनः, etc.
Of course, we find mention in the Artha and the Kāma sāstras
of Kauṭilya and Vātsyāyana, of similar names of authors such as
Bhāradvāja, Bṛhaspati, Viśālākṣa, Parāśara and others whose works
are either summarised or referred to in them. But we cannot
doubt the authenticity of the statements of Kauṭilya and Vātsyā-
yana because there are no works on Artha and Kāma earlier than
Kauṭilya and Vātsyāyana available to-day, as it is in the case
of the Kāvyamīmāṁsā. On the contrary, the existence of the
works of such authors as Bṛhaspati and Viśālākṣa can be proved
from quotations found in later works under their names (see Intro.
of the Arthaśāstra, Trivandrum edi. p. 6.).
l. 8. औक्तिकम्:—'different methods of expression from the
sentences'. They are वाच्य, लक्ष्य, गौण and व्यङ्ग्य of अर्थ, and वाचक, लक्षक,
गौण and व्यञ्जक of the शब्द. It is natural for Rājaśekhara to explain

FIRST ADHYĀYA 121
the nature of Dhvani in this chapter of औक्तिक which, as he says, was
composed by उक्तिगर्भ; 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 Ānandavardhana, 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 Rudrața as a Śabdālaṅkāra must
have also been treated in this chapter of औक्तिक along with different
kinds of उक्तिs as explained by Bhojadeva in his Sarasvatīkaṇṭhā-
bharaṇa. (2. 39).
l. 8. रीतिनिर्णयम्। Discussions regarding the nature of the Rītis
are current from the very early stages of the science of poetics as
both Bhāmaha and Daṇḍin, the earliest writers on this subject,
mention them as already existing since a very long time (see
Bhāmaha's, K. A. 31-33 and Daṇḍin's K. A. 1-40). Vāmana, the
author of the Kāvyālaṅkārasūtra, improved upon them and stated
that Rīti alone is the soul of the Kāvya. (रीतिरात्मा काव्यस्य। 1. 2. 6.).
l. 9. प्रचेतायनः। The earliest authors on poetics accept अनुप्रास
as one of the Alaṅkāras or figure of speech. Bhāmaha treats this
at the very outset while dealing with Alaṅkāras and divides it into
two kinds as Grāmya and Lāṭīya. Daṇḍin characterizes Anuprāsa
as an inferior method of writing which he attributes to the writers
in the Gauḍa country (see K. A. 1. 44-60). But the followers of
Bhāmaha have been able to discover several varieties of it in their
works. The original writer on अनुप्रास, as Rājaśekhara mentions, is
प्रचेतायन, very probably a member in the family of Pracetas, one
of the ten Prajāpatis. But the word प्रचेतायन does not seem to be
grammatically correct according to the rules of Pāṇini. Vālmīki,
the author of the Rāmāyaṇa, also is a Prācetasa. Rājaśekhara
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.
l. 9. यमकानि। The name of the original inventor of यमक is
omitted in all MSS. of the Kāvyamīmāṁsā. Citrāṅgada cannot
be taken as the teacher of both the Yamaka and Citra. Firstly
because, the name is not in keeping with the Anuprāsa which
१६

122 EXPLANATORY NOTES
is strictly observed here in mentioning the subject and the author.
Under this Anuprāsa principle, Citrāṅgada can be the originator
of the Citra alone. Secondly because, Rājaśekhara subsequently
states that 18 chapters were separately composed by eighteen
authors : इति ततस्ते पृथक्पृथक् स्वशास्त्राणि विरचयाञ्चक्रुः । (p. 1. l. 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 प्रचेतायन also does not seem to be grammatically
correct as the grammatical form in this case ought to be प्राचेतायन
or प्रचेतयनिः. 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 Raghuvaṁśa uses 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
Alaṅkāras mentioned with several varieties by Bharata, the earliest
writer on the science of poetics (see N. S. ed. 16th Chapter).
Amongst later writers, Bhāmaha was not satisfied with the
classification of Bharata, and he acknowledged only five varieties
instead. Though Daṇḍin has no special fondness for Yamakas in
the Kāvya, he, nevertheless, deals with the subject with its various
sub-divisions in a separate chapter (see 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 Rājaśekhara in mentioning the subjects
and their teachers.
l. 9. चित्रं चित्राङ्गदः । Later writers on literary criticism use
the word चित्र to mean an inferior kind of poetry possessing
Guṇa and Alaṅkāra only, without any vestige of Dhvani. (see
Dhvanyāloka 3. 42 and Kāvyaprakāśa, 1. 5.). Rājaśekhara, here
does not refer to the चित्रकाव्य but to चित्र which is recognized as
one of the Śabdālaṅkāras by the early writers on Alaṅkāra.
Here by the word चित्र, is meant such peculiar combination of
words in poetry as to make up Bandhas such as चक्र, खङ्ग, मुरज,
etc. and other arrangements of words such as मात्राच्युतक, प्रहेलिका etc.
Rudraṭa is the first writer to include this kind of combination
of words in his list of Śabdālaṅkāras (2-13.) with the name
चित्र, and to deal with its various forms in the 5th chapter of

his Kāvyālaṅkāra although Bhāmaha and Daṇḍin 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 Rājaśekhara as to appear as an imitation of
the system adopted by Rudraṭa. Rudraṭa gives in his Kāvyā-
laṅkāra the list of the S'abdālaṅkāras in the following verse:—
वक्रोक्तिरनुप्रासो यमकं श्लेषस्तथाऽपरं चित्रम् ।
शब्दस्यालंकाराः श्लेषोऽर्थस्यापि सोऽन्योऽस्तु ॥ (2. 13).
and treats of these Alaṅkāras in chapters 2-5 following the same
order. In the first and second chapters, Rudraṭa deals with
Kavirahasya and Rītinirṇaya. Now, it will be evident that
the order of subjects adopted by Rājaśekhara in the first 7
Adhikaraṇas is substantially the same as found in the work of
Rudraṭa. That Rājaśekhara also followed Rudraṭa in many im-
portant points will be shown in sequel.
l. 9. शब्दश्लेषम् । Following Rudraṭa's classification here शब्दश्लेष
is included among the शब्दालंकारs and अर्थश्लेष among the अर्थालंकारs.
Earlier writers such as Bhāmaha, Udbhaṭa and Vāmana make no
such distinction between these two varieties of the S'leṣa but
include them both amongst the अर्थालंकारs. Rudraṭa for the first
time treats of these two separately in two different chap-
ters. Regarding the attribution of the original authorship of
the S'leṣa to S'eṣa no authority exists, and the word S'eṣa is
probably used since it is in accordance with the author's scheme of
Anuprāsa already referred to.
ll. 9–10. वास्तव, औपम्य, अतिशय and अर्थश्लेष । Here Rājaśekhara
begins his list of Arthālaṅkāras. This classification of the Arthā-
laṅkāras into the groups Vāstava etc. is found only in the Kāvyā-
laṅkāra of Rudraṭa; but the early writers on Alaṅkāra preceding
Rudraṭa do not seem to be aware of this system of grouping.
Rudraṭa classifies them in the following verse :—
अर्थस्यालंकारा वास्तवमौपम्यमतिशयः श्लेषः ।
एषामेव विशेषाः अन्ये तु भवन्ति निःशेषाः ॥ (K. A. 7. 9).
and deals with them in four chapters 7-10. Under the heads वास्तव,
etc. Rudraṭa includes respectively 23, 21, 12 and 10 figures of
speech as based upon the four definite principles, वास्तव, etc.
This shows that Rājaśekhara generally followed Rudraṭa in his