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

NINTH ADHYĀYA 193
contracted a humiliating treaty when he was attacked and defeated
by a S'aka 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, Chan-
dragupta 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 Nāṭyadarpaṇa; pp. 223–253, of the Journal of the
B. O. R. S. 1928 and the Journal Asiatique for Octo.–Dec. 1923.
In the verse quoted by Rājaśekhara, however, the king
is named as S'rīśarmagupta or S'rīsenagupta and the invading
king is reported as Khasādhipati instead of S'rīrāmagupta and
S'akādhipati respectively. On the strength of the evidences
adduced above the readings as खस and शर्मगुप्त here may be taken as
scribe's errors for शक and रामगुप्त respectively which seem to be the
correct names. It is also suggested in the above mentioned journals
on the evidence of the Devīcandragupta, Sañjan copper-plates, and
some coins of Candragupta and Dhruvadevī, that Candragupta II
must have married Dhruvadevī the queen of his brother Rāmagupta
after killing him. But the verse quoted by Rājaśekhara, however,
has no direct connection with the incident referred to above.
But this verse certainly makes valuable contribution to the
controversy regarding Rāmagupta's history by clearing two points:
namely, the identification of the particular S'aka king who invaded
Rāmagupta's territory and the identification of Candragupta. The
words खसाधिपति, यस्मात् and तस्मिन्नेव हिमालये in this verse undoubtedly show
that खस king as spelt in the Mss of the Kāvyamīmāṁsā may be
better identified with one of the Kuṣāṇa kings of the Western
Punjab and not with the S'aka Kṣatrapas either of Mathura or
Malwa and that the war between the खस king and Rāmagupta
or S'armagupta took place exactly in the portion of the Himālayas
lying between the two kingdoms. In this case the word शक in the
Harṣacarita and Devīcandragupta may be taken to denote the खस
or Kuṣāṇa king as the term शक is often loosely used to denote even
the non-S'aka foreign tribes.
The word कार्तिकेय also in this verse may refer to Skanda-
gupta of the Gupta dynasty who is addressed in this verse and is
२५

194 EXPLANATORY NOTES
known to be the grandson of Candragupta II. This leads us
to believe that Candragupta II who was styled as S'akārāti
was the hero of the drama Devīcandraguptam. 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 कार्त्तिकेय should be taken in vocative.
This interpretation should be abandoned if the word कार्त्तिकेयनगर
is taken as a compound and identified with the कार्त्तिकेयपुर mentioned
in Pāndukesvar copper plate and Talesvara charters. This कार्त्तिकेय-
पुर 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 Rājatarangiṇī of Kalhaṇa, 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 शकपति in the MSS of the Harṣacarita, S'ṛṅgāraprakāśa and
Nāṭyadarpaṇa may be ascribed to scribe's error for खसपति. 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. Rājatarangiṇī also states that the
kings of the Khasas were known as the rulers of राजपुरी or खसालय or
खसालि. 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 Harṣacarita and the S'ṛṅgāraprakāśa. (स्त्रीवेषनिन्हुतश्चन्द्रगुप्तः शत्रोः
स्कन्धावारमलिपुरे 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 Rājatarangiṇī translation.)

NINTH ADHYĀYA 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 Saurāṣṭra,
on the strength of the readings अरिपुरे or अलिपुरे in the Harṣacarita
and the S'ṛṅgāraprakāśa, emended as गिरिपुरे. In addition to this
emendation of Aripura into Giripura ( Girnar ) they propose
further to change this verse in the following manner :—
दातुं रुद्धगतिः शकाधिपतये देवीं ध्रुवोपायिकां यस्मात्खण्डितसाहसो निववृते श्रीरामगुप्तो नृपः ।
तस्मिन्नेव हि रैवते गुरुगुहाकोणक्वणत्कीचके गीयन्ते बत ते कुमार शबरस्त्रीणां गणैः कीर्तयः ॥
These emendations lose much value since there is no MS
material in their support. Also, the word स्कन्धावार in the passage of
the S'ṛṅgāraprakāsa as quoted above denotes that Candragupta
went only to the camp of the enemy and not to his capital in
Saurāṣṭra. These emendations, therefore, have to be accepted with
caution.
*[ l. 14. दृष्टैकासनसंस्थिते ( अमरु. 19 ).
Page. 48.
*[l. 1. स्तिमित ( मालतीमाधव I ).
l. 5. अलसवलित. Ibid. I.
l. 9. अभिलाष. ( कुमार. IV 41. )
l. 13. क्रोधं प्रभो. Ibid. III 72.
l. 17. पत्युः शिरश्चन्द्रकला. Ibid. VII 19. ]
ll. 21–23. Here poets are advised to acquaint themselves
with the manifold subjects which find expression through the
medium of Prākṛta dialects according to their ability and energy.
ll. 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.
l. 3. घनैः=weighty or full because of many sub-divisions.

196 EXPLANATORY NOTES
Adhyāya. X.
*[ ll. 8-10. गृहीतविद्योपविद्यः Cf. गृहीतविद्यः (वा. काम. सू. 1-4-1.) अभिधान-
कोशः. cf. अभिधानकोशः छन्दोज्ञानम्. Ibid. 1-3-16. ]
ll. 8-10. For the other branches of Kāvyavidyā cf. लोको विद्या
प्रकीर्णञ्च 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, Daṇḍin, Udbhaṭa, Vāmana, Ānanda and Rudraṭa
are meant by the word अलङ्कारतन्त्रम् । Vāmana uses the word शास्त्र
( 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
Rājaśekhara 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 among the
principal Vidyās. Another set of sixty four Kalās and 104 Upakalās
are enumerated by Gopendraṭippabhūpāla in his commentary
on Vāmana's Sūtra ( 1-3. 7) on the authority of Bhāmaha's
verses. Cf. कलाः—नृत्तगीतादयश्चतुःषष्टिः । उपकलास्तुःशतम् । कलानामुद्देशः कृतो भाम-
हेन—नृत्तं गीतं तथा वाद्यमालेख्यं मणिभूमिकाः । etc. Kāmadhenu on Vāmana's
Sūtra 1-3. 7.
This list of Kalās is similar to that of Vātsyāyana. The editions
of the Kāvyālaṅkāra of Bhāmaha, as at present available, however,
do not contain these verses.
l. 10. सुजनोपजीव्यकविसन्निधिः=acquaintance with the poet who is
patronized by good men. For other equipments of a poet see
Kavikaṇṭhābharaṇa, sandhi-2.
*[ ll. 15-24. अपिच नित्यं शुचिः स्यात् etc. cf. नागरकवृत्त(वा. काम. सू. 1-4.) ]
ll. 15-24. The duties and behaviour of a poet are enumerated
in this chapter in the same way as the Nāgarakavṛtta and Rāja-
vṛtta have been described in the Kāmaśāstra ( 1-4 ) and Artha-
śāstra ( 1-19 ) respectively.
Page. 50.
l. 6. समागध। All MSS read समागध. It may be read as मागधभाषा-

TENTH ADHYĀYA 197
भिनिवेशिन्यः । The word समागधभाषा may be taken to mean a language
along with the Māgadhī language.
l. 10. अतिरात्रादिषु=overnights.
l. 14. तृतीयवर्जम्=excepting the letter स, which is the third of
ऊष्म letters शषसह.
l. 15. Construe as परुषाक्षर and संयोगाक्षर.
*[ l. 17. कुन्तलेषु सातवाहनः Cf. कर्त्तर्या कुन्तलः शातकर्णिः शातवाहनो ( वा. काम.
सू. 2. 7. 28 ). Cf. राएण विरइए कुन्तलजणवयवइणेण हालेण. ] ( Introduction
of the Gāthāsaptas'atī ).
l. 17. सातवाहन seems to be another name of हाल who is the
author of the गाथासप्तशती and ruled the Kuntala country. The
compilation of this Mahārāṣṭrī Prākṛta Kośa itself stands as a
proof of his love for that Prākṛta language. S'rīpālita was his
court-poet and several Gāthās of his are incorporated in the Gāthā-
Kośa by Hāla S'ātavāhana. Here the word प्राकृतभाषा denotes
महाराष्ट्रीप्राकृत because the Kuntala country is included in Māhārāṣṭra,
and also because the other two Prākṛtas S'aurasenī and Māgadhī
are already mentioned. Regarding the king Hāla and the poet
S'rīpālita see infra.
*[ l. 19. श्रूयते चोज्जयिन्यां.
cf. केऽभूवन्नाढ्यराजस्य राज्ये प्राकृतभाषिणः ।
काले श्रीसाहसाङ्कस्य के न संस्कृतवादिनः ॥
सरस्वतीकण्ठाभरण. II. 15 ].
l. 19. There were, however, several Vikramādityas in ancient
times, and the word Vikramāditya being an epithet, the most power-
ful kings could always assume that title. There is a verse in the
Gāthāsaptaśatī (cir. 1st century A. D.) where the author mentions
the name of a king Vikramāditya.
cf. संवाहणसुहरसतोसिएण देन्तेण तुह करे लक्खम् ।
चलणेण विक्कमाइत्तचरिअं अणुसिक्खियं तिस्सा ॥ (5. 64)
Sāhasāṅka here seems to be the same as Candragupta
Vikramāditya II of the Gupta dynasty, who also assumed the
title of Vikramāṅka which appears on his coins. The name
Sāhasāṅka is further justified by the story of the Devīcandra-
gupta and the Sanjan Copperplates where the daring actions of
Candragupta II are recorded. Rājaśekhara makes it clear on

198 EXPLANATORY NOTES
p. 55-7 that Sāhasāṅka or Candragupta II was a patron of Sans-
krit learning and encouraged men of letters. The fact that the
king Sāhasāṅka was also a poet will be evident by the following
verses :—
भासो रामिलसोमिलौ वररुचिः श्रीसाहसाङ्कः कविः etc. and
शूरः शास्त्रविधेर्ज्ञाता साहसांकः स भूपतिः।
सेव्यं सकललोकस्य विदधे गन्धमादनम्॥
Sūktimuktāvali 4, 57, 111.
*[ l. 23. सुसम्मृष्टा भित्तयः=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. सम्पुटिका=a box. सफ़लकखटिका=a piece of chalk fixed
to a wooden piece. समुद्गकः=a 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 प्रतिभा alone is its chief necessity. see Vāmana's sūtra 'कवित्वबीजं
प्रतिभानम्' । 1-3-16.
l. 26. कल्पयेत्=make himself equipped.
l. 27. परिवृढः=king or patron.
Page. 51.
l. 2. Yāyāvarīya thinks that the above instructions of the
Ācāryas hold good in the case of poets who are not competent to
compose in more than one dialect.
l. 7. भूतभाषा=पैशाची।
l. 8. For the definition and boundaries of Madhyadeśa see
page 94 of the Kāvyamīmāṁsā.
l. 13. अतिक्रान्ते=after the poet's demise.
l. 21. लेशस्वादु=excellent in parts. This may be construed
thus:—लेशस्वादपि काव्यं कौतुकात् बालस्त्रीहीनजातीनां मुखान्मुखं याति।
l. 23. कार्यावसरसज् l=those who make the best use of a
favourable opportunity. This is not necessarily to be taken as an
adjective to परिम्राजाम् महीभुजाम् and सद्यःकवीनाम्।

TENTH ADHYĀYA 199

The word सद्यःकवीनाम् may be taken as one word meaning आशुकवि.
l. 25. पितुः etc. may be construed respectively with सुत etc.
Page. 52.
l. 5. यदुदासीनः etc. Others can judge their actions better than
the doers themselves.
l. 7. विप्लवेत्=fall into disorder or confusion. This has been
explained in the passage स्वकाव्यबन्धेन विनाश्यत्यपि।
ll. 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 cf.
किं करोति कियत्कालं वेश्यावेश्मनि कामुकः। कीदृशं वदनं वीक्ष्य तस्याः कर्णायते क्षणम्॥
(p. 57. of the Kāvyamīmāṁsā).
Daṇḍin also introduces similar methods of प्रहेलिका in the third
chapter of his Kāvyādarśa. 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 Kalās (काम-सू. 1-3-16).
Jayamaṅgala comments upon the word धारणमातृका as follows:—
“धारणमातृकेति—श्रुतस्य ग्रन्थस्य धारणार्थं शास्त्रम्। यथोक्तम्—
‘वस्तु कोशस्तथा द्रव्यं लक्षणं हेतुरेव च।
इत्येते धारणादेव्याः पञ्चाङ्गरुचिरं वपुः॥’ इति॥
In the list of Kalās quoted by Gopendratippabhūpāla from
Bhāmaha's work, this word धारणामातृका also occurs, (see Vāmana
1-3-7) and the verse there should be read as:
धारणामातृका यन्त्रमातृका काव्यलक्षणम्। instead of
धोरणा मातृकायन्त्रं मातृकाकाव्यलक्षणम्। as printed there.
For an explanation of यन्त्रमातृका see Jayamaṅgala's commentary
on Kāmaśāstra 1-3-16.
चित्रा योगाः are those that are mentioned exhaustively by
Daṇḍin in the third chapter of his Kāvyādarśa, and by Rudraṭa
in the fifth chapter of his Kāvyālaṅkāra. Rājaśekhara also
proposes to treat this subject चित्र in the sixth Adhikaraṇa of
his Kāvyamīmāṁsā.
यावदार्ति क्रियमभिमन्येत। Here the word आर्ति denotes राग or इन्द्रियदौर्बल्य.

200 EXPLANATORY NOTES
Rājaśekhara instructs poets not to indulge in sexual excesses and
advises them to have recourse to women only to remove their आर्ति
or mental weakness. Similar usage can be found in the Mahābhāṣya
of Patañjali (1-1-1) where the word खेद is used instead of आर्ति.
Cf. खेदात् स्त्रीषु प्रवृत्तिर्भवति । समानश्च खेदविगमो गम्यायां चागम्यायाञ्च ।
The word खेद is explained by Kaiyaṭa while commenting on
the Mahābhāṣya Paspaśāhnika as below :—
खेदादिति । खेदयतीति खेदः रागः । इन्द्रियनियमासामर्थ्यं वा खेदः।
Page. 53.
l. 7. व्यवायः=Sexual intercourse.
*[ l. 15. श्रूयन्ते दृश्यन्ते च cf. सन्त्यपि खलु शास्त्रप्रहतबुद्धयो गणिका राजपुत्र्यो महा-
मात्रदुहितरश्च (वा. काम. सू. 1-3-12).
Read in the text महामात्रदुहितरो and शास्त्रप्रहतबुद्धयः. Rājaśekhara
(quoted in the Sūktimuktāvali) praises four such poetesses.
(1) शीलाभट्टारिका (2) विकटनितम्बा (3) विजयाङ्का (4) प्रभुदेवी.
शब्दार्थयोः समो गुम्फः पाञ्चाली रीतिरुच्यते ।
शीलाभट्टारिकावाचि बाणोक्तिषु च सा यदि ॥
के वैकटनितम्बेन गिरां गुम्फेन रञ्जिताः ।
निन्दन्ति निजकान्तानां न मौग्ध्यमधुरं वचः ॥
सरस्वतीय कर्णाटी विजयाङ्का जयत्यसौ ।
या वैदर्भंगिरां वासः कालिदासादनन्तरम् ॥
सूक्तीनां स्मरकेलीनां कलानां च विलासभूः ।
प्रभुदेवी कविर्लाटी गतापि हृदि तिष्ठति ॥
also नीलोत्पलदलश्यामां विजकां तामजानता ।
वृथैव दण्डिनाप्युक्तं सर्वशुक्ला सरस्वती ॥ ]
ll. 14–16. Avantisundarī, the wife of Rājaśekhara was a cul-
tured lady, a poetess and a critic. Rājaśekhara 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 Rājaśekhara's life-time. In
addition to four poetesses शीलाभट्टारिका, विकटनितम्बा, विजयाङ्का, and प्रभुदेवी
one more poetess सुभद्रा also is praised by Rājaśekhara in one of his
verses quoted in the Sūktimuktāvali p. 47 :
पार्थस्य मनसि स्थानं लेभे लघु सुभद्रया ।
कवीनां च वचोवृत्तिश्चातुर्येण सुभद्रया ॥

TENTH ADHYĀYA 201
l. 17. आदर्शः=copy. A poet should prepare several copies of
his composition.
l. 25. एकावली=a single string of pearls.
Page. 54.
l. 3. For the definitions of मुक्तक, see notes on page 46, l. 22.
सङ्घातः । 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.
Daṇḍin mentions सङ्घात as a sub-division of सर्गबन्ध and his com-
mentator Taruṇavācaspati defines it as follows:—
सङ्घातः एकार्थविषयः एककर्तृकः पद्यसंघातः । शरत्सङ्घातद्रविडसंघातादिवत् ॥
Kāvyādarśa. 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)
*[ l. 5. बह्वपि स्वेच्छया ( माघ II. 73 ) ]
ll. 5–6. This is a verse quoted from the second canto of the
Śiśupālavadha where Uddhava gives counsel to Kṛṣṇa and differs
from the views expressed by Baladeva. It may also be suggested
here, as Rājaśekhara interprets, that Māgha, the author of the
Kāvya, being proud of his composition or प्रबन्ध, criticises in this
verse the attempts of other poets in order to humiliate them.
ll. 7–10. The fundamental principles of poetry are recorded
here on the lines indicated by Vāmana. Vāmana thinks that Rītis,
Guṇas and Sūktimudrās only are the most important factors for
the composition of poetry, but he does not consider the Alaṅkāras
to be so important. See Kāvyālaṅkārasūtra 3, 1, 1–3 and the
verses quoted there:—
२६

202 EXPLANATORY NOTES
युवतीरिव रूपमङ्ग काव्यं स्वदते शुद्धगुणं तदप्यतीव ।
विहितप्रणयं निरन्तराभिः सदलङ्कारविकल्पकल्पनाभिः ॥
यदि भवति वचश्च्युतं गुणेभ्यो वपुरिव यौवनवन्ध्यमङ्गनायाः ।
अपि जनदयितानि दुर्भगत्त्वं नियतमलङ्करणानि संश्रयन्ते ॥
Bhāmaha and Daṇḍin consider both Guṇa and Alaṅkāra equ-
ally important in poetry.
cf. न कान्तमपि निर्भूषं विभाति वनितामुखम् ॥ (Bhāmaha. 1–13.)
काश्चिन्मार्गविभागार्थमुक्ताः प्रागप्यलङ्क्रियाः । साधारणमलङ्कारजातमद्य प्रदर्श्यते ॥
(Daṇḍin. 2. 3)
Bharata, Ānanda and Rudraṭa observe that a poet should princi-
pally make an attempt to develop the Rasas in his composition.
Though Rājaśekhara is acquainted with the views of these writers,
he does not point out here the importance of Alaṅkāra, Rasa and
Dhvani in poetry, and his silence in this respect is due, very proba-
bly, 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.
l. 11. अभिधा=word. अभिधोपनिषत्=grammar.
l. 16. एकपत्नीव्रतम् । see काम. सू. 4–1 for एकचारिणीवृत्त.
एकचारिणी attends to the त्रिवर्ग i. e. Dharma, Artha and Kāma of
the husband. Sarasvatī also does the same to a poet who follows
the above mentioned methods.
l. 18. Construe as :—
यस्याः (सिद्धेः) मूलच्छायां सः गिरां गुरुरपि न जानाति ।
मूलच्छाया=beauty of the foundation.
l. 21. अष्टभिर्मत्तवारणीभिः=with eight verandas or pavilions. It
is also called कपोतपालिका and is defined as गजदन्तैः कृता शाला विज्ञेया मत्तवारणी ।
l. 22. मणिभूमिका=bejewelled floor.
l. 23. The word संस्कृत denotes here a poet of sanskrit
language by its secondary capacity or लक्षणा.
l. 25. वेदविद्या=the Vedas and their six Aṅgas शिक्षा etc.
l. 26. Pramāṇas are Mīmāṁsā and Tarkas as described in the
eighth chapter (see page 36). The word स्मार्ताः here denotes those
who are conversant with स्मृतिs and Dharmaśāstras.

TENTH ADHYĀYA 203

*[ l. 26. मौहूर्तिका: cf. मौहूर्तिकपौराणिकसूतमागधाः (अर्थशास्त्र. p. 245) ].
l. 26 अन्येऽपि तथाविधाः refers to specialists in मन्त्र and तन्त्र Śāstras.
*[ l. 27. नटनर्तक. cf. नटनर्तकगायकवादकवाग्जीवनकुशीलवप्लवकसौभिकचारणानां
सर्वतालावचराणाञ्च (अर्थशास्त्र. p. 125.) also नटनर्तकवादकवाग्जीवनकुशीलवाः
Ibid. p. 48. ]
l. 27. The word Prākṛta also refers to poets in Prākṛta
language by its secondary capacity.
नट=a professional actor. Naṭa is defined in the Bhāvapra-
kāśana thus:—
अतीतं लोकवृत्तान्तं रसभावसमन्वितम् ।
स्वभाववन्नाटयति यतस्तस्मान्नटः स्मृतः ॥ p. 288, 5-6.
नर्तकः=professional actor in the minor dramas such as डोम्बी
श्रीगदित etc. He performs नृत्त or नृत्य in these Uparūpakas which are
18 or 20 in number. For detailed information regarding नृत्त and
नृत्य and 20 minor kinds of dramas see Bhāvaprakāśana chapters
7, 8 and 10.
Page. 55.
l. 1. वादनम्=instrumental music. It must be construed with जीवन.
कुशीलव=singers behind a dancing girl when she dances, or
singers in general. तालावचर=dancers.
l. 3. वैकटिकाः=jewellers. वर्धकि=carpenters.
l. 4. प्लवक=rope-dancers. शौभिक=juggler. जम्भक=magicians or
मायावी. For जम्भकविद्या see Arthaśāstra p. 245–16.
*[ l. 7. वासुदेव. There are two such names in ancient history:
(1) Vāsudeva Kāṇva, the Brāhmaṇa minister of Devabhūti of the
solar race, who usurped the throne made 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 Gāthās of many poets.
For the derivation of the word, cf.
सातेन यस्माद्वोढोऽभूत् तस्मात्तं सातवाहनम् ।
नाम्ना चकार कालेन राज्ये चैनं न्यवेशयत् ॥ कथासरित्सागर.

204 EXPLANATORY NOTES
सातं दत्तसुखं वाहनमस्य सातवाहनः सालवाहनोऽपि। अभिधानचिन्तामणिटीका. III. 375.
जगत्यां प्रथिता गाथा सातवाहनभूभुजा ।
व्यधुर्वृत्तेस्तु विस्तारमहो चित्रपरम्परा ॥
सूक्तिमुक्तावल्यां राजशेखरः ।
अविनाशिनमग्राम्यमकरोत्सातवाहनः ।
विशुद्धजातिभिः कोशं रत्नेरिव सुभाषितैः ॥ हर्षचरित्र. 5.
नमः श्रीहारवर्षाय येन हालादनन्तरम् ।
स्वकोपः कविकोषणामाविर्भावाय सम्भृतः ॥ रामचरित. VI. 93.
हालेनोत्तमपूजया कविदृषः श्रीपालितो लालितः
ख्यातिं कामपि कालिदासकवयो नीताः शकारातिना ।
श्रीहर्षो विततार गद्यकवये बाणाय वाणीफलं
सद्यः सत्क्रिययाऽभिनन्दमपि च श्रीहारवर्षोऽग्रहीत् ॥
Ibid XXII. 100.
cf. तत्थ वि । पालित्तयगालाहणछप्पणयसीहनायसद्देण ।
संखुद्धमुद्धसारङ्गउ व्व कह ता पयं देमि ॥
निम्मलगुणेण गुणगुरुएण परमत्थसयणसारेण ।
पालित्तयेण हालो हारेण व सहइ गोट्ठीसु ॥
चक्कायुजुवलसुहया रंमन्तपरायहंसगयहंरिसा ।
जस्स कुलपव्वयस्स व वियरइ गङ्गा तरङ्गमई ॥
भणियविलासवलन्तचोक्किले जो करेइ हालिए वि ।
कव्वेण किं पडत्थे हाले हालावियारे व्व ॥
पणईहिं कइएणेण य भमरेहिं व जस्स जायपणएहिं ।
कमलायरो व्व कोसो विल्लुप्पमाणे वि हु न झीणे ॥
कुवलयमाला of इन्द्रसूरि (दाक्षिण्यचिह्नसूरि) 778 A. D.
References to other old poets are also interesting.
सयलकलागमनिलया सिक्खावियकवियणा समुहयंदा ।
कमलासण गुण्ड्ढा सरस्सई जस्स वट्ठकहा ॥
जे भारहरामायणदलियमहागिरिसुगम्ममग्गेण ।
लंघेइ दिसाकरिणो कइणो को वासवंमीए ॥
छप्पन्नयाण किं वा भज्जइ कयकूंकंजराण भुवर्णसि ।
अन्ने वि छेयभणिओ अज वि उवमिजए जेहिं ॥
लावण्णवयणुसुहया सुवञ्चरयणुज्जला य बाणस्स ।
चन्द्रावीणस्स वणे जाया कादंबरी जस्स ॥
जारिसयं विमलंको विमलं को तारिसं लहइ अत्थं ।
अमयमइयं व सरसं सरसं चिय पाइयं जस्स ॥
तिउरिसचरियपसिद्धो सुपुरिसचरिएण पायडो लोए ।
सो जयइ देवगुत्तो वंसे गुत्ताण रायरिसी ॥

TENTH ADHYĀYA 205
बुहयणसहस्ससद्दइयं हरिवंसुप्पत्तिकारयं पढमम् ।
वंदामि वंदियं पि हु हरिवंसं चेय विमलपयम् ॥
सन्निहियजिणवरिंदा धम्मकहा बंधदिक्खियनरिंदा ।
कहिया जेण सुकहिया सुलोयणा समवसरणं वा ॥
सत्तूण जो जसहरो जसहरचरिएहिं जणवए पयडो ।
कलिमलपभंजणो च्चिय पहुंजणो आसि रायरिसी ॥
जेहिं कए रमणिज्जे वरंगपउमाण चरियवित्थारे ।
कह व न सलाहणिज्जे ते कइणो जडियरविसेणो ॥
जो इच्छइ भवविरहं भवविरहंको न बंधए सुयणो ।
समयसयसत्थगहणो समरमिमंका कहा जस्स ॥
साहसाङ्क is विक्रमादित्य. ]
l. 7. सातवाहन । Sātavāhana or S'ālivāhana is a family name.
Several princes belonging to the Āndhrabhṛtya dynasty ruled the
Mahārāṣṭra country and bore the title of Sātavāhana. There
are several literary traditions connected with the Sātavāhana kings
who were recognized patrons of poets in Prākṛta languages,
such as Paiśācī, Mahārāṣṭrī etc. The Bṛhatkathā of Guṇāḍhya,
Kātantra grammar of Sarvavarman, and Gāthāsaptaśatī 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 । S'ūdraka is well known as a king and the author of the
drama Mṛcchakaṭika. Several stories are recorded in the Bṛhat-
kathā where S'ūdraka plays an important part. The शूद्रककथा or the
biography of S'ūdraka has been written by two authors रामिल and
सौमिल conjointly. This fact is known only from a verse occurring in
the Sūktimuktāvalī, where it is attributed to Rājaśekhara. This
verse is given below:—
तौ शूद्रककथाकारौ रम्यौ रामिलसौमिलौ ।
काव्यं ययोर्द्वयोरासीदर्धनारीश्वरोपमम् ॥
Sūktimuktāvalī. p. 43.
One सौमिल is also mentioned by Kālidāsa in his Mālavikāgni-
mitra along with Bhāsa and Kaviputra and very probably he may
be the author of the शूद्रककथा । From the remark शूद्रकादिरचितेषु
प्रबन्धेषु occurring in Vāmana's Kāvyālaṅkārasūtra-Vṛtti (3-2-4,)
it appears that S'ūdraka had composed several other works in

206 EXPLANATORY NOTES
addition to the Mṛcchakaṭika. Kṣīrasvāmin 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 ।
शूद्रकस्त्वग्निमित्रो वा हालः स्यात्सातवाहनः ॥
Now, it is well known that Agnimitra was the son of the
S'uṅga conqueror Puṣyamitra who flourished in the second century
B. C. That S'ūdraka was a very noble and highly respected king
like Harṣa and Udayana, is known from a reference found in the
Hṛdayaṅgamā, a commentary on the Kāvyādarśa, (1-15) which
runs as: सदाश्रयम्–हर्षशूद्रकोदयनादिसत्पुरुषाश्रयम् ।
The prologue of the Mṛcchakaṭika 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 Māla-
vikāgnimitra was probably identical with king S'ūdraka the author
of the Mṛcchakaṭika. 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 जलणमित्ते कुन्तीदेवे अ जस्स रहुआरे । गउडवहो—800.
Here ज्वलनमित्र is no other than Agnimitra.
The introduction of a Buddhist monk to save the life of
Vasantasenā in the Mṛcchakaṭika, and the part played by Paṇḍita
Parivrājikā, presumably a Buddhist nun, as the adviser of queen
Dhāriṇī 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 Mṛcchakaṭika,
(1) द्विजमुख्यतम (2) ऋग्वेदं सामवेदम् (3) राजानं वीक्ष्य पुत्रं परमसमुदयेनाश्वमेधेन चेष्ट्वा
लब्ध्वा चायुः शताब्दं दशदिनसहितं शूद्रकोऽग्निं प्रविष्टः । tally in principal details with
the historical facts known about the S'uṅgas. We know from
history that Puṣyamitra and his son Agnimitra were the Brahmins
of the S'uṅgagotra and belonged to the Sāma Veda, and that
Puṣyamitra 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 Mṛcchakaṭika. If the proposed identity of

TENTH ADHYĀYA 207
Agnimitra with S'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 Agnimitra because
according to the Mālavikāgnimitra, he was only a governor of the
southern provinces duriug his father's life-time, 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 Puṣyamitra, and to see his son
Vasumitra installed after himself as king whose reign was for
some time interrupted by the rule of one Vasujyeṣṭha probably
Agnimitra's brother. Now the date of composition of the
Mṛcchakaṭika 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 तमोऽङ्गानि वर्षतीवाञ्जनं नभः । found in the Mṛcchakaṭika and quoted
by Daṇḍin in his Kāvyādarśa to one Vikramāditya on the autho-
rity of the Subhāṣitāvalī and the Sūktimuktāvalī, should not be
taken as correct because S'ūdraka or Agnimitra is not known to
have assumed the title of Vikramāditya.
l. 11. अवदंश=stimulant.
*[ll. 19-25. मेण्ठ is भर्तृमेण्ठ, author of the Hayagrīvavadha. See
Rājatarangiṇī 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 वर्णेषु यस्योज्ज्वलता तथैव ॥ उदयसुन्दरी ॥
Rājaśekhara calls himself an incarnation of भर्तृमेण्ठ.
बभूव वल्मीकभवः पुरा कविस्ततः प्रपेदे भुवि भर्तृमेण्ठताम् ।
स्थितः पुनर्यो भवभूतिरेखया स वर्तते सम्प्रति राजशेखरः ॥
बालरामायण. I. 16.
सूर may be आर्यसूर the Buddhist poet.
cf. also सुबन्धौ भक्तिर्नः क इह रघुकारे न रमते
धृतिर्दाक्षीपुत्रे हरति हरचन्द्रोऽपि हृदयम् ।

208 EXPLANATORY NOTES
विशुद्धोक्तिः शूरः प्रकृतिमधुरा भारविगिर-
स्थाप्यन्तर्मोदं कमपि भवभूतिर्वितनुते ॥
हरिश्चन्द्र— पदबन्धोज्ज्वलो हारी कृतवर्णक्रमस्थितिः ।
भट्टारहरिचन्द्रस्य 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 बृहत्कथामञ्जरी कथापीठ II. 71-74.
For सभापति cf.
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 दत्त्वा चकार करटीन्दुघटान्धकारम् ॥
हाले गते गुणिनि शोकभराद्बभूवुरुच्छिन्नवाङ्मयजडाः कृतिनस्तथामी ।
यत्तस्य नाम नृपतेर्निशं स्मरन्तो हेल्यक्षरं प्रथममेव परं विदन्ति ॥
श्रीहर्ष इत्यवनिवर्तिषु पार्थिवेषु नाम्नैव केवलमजायत वस्तुतस्तु ।
गीर्हर्ष एष निजसंसदि येन राज्ञा सम्पूजितः कनककोटिशतेन बाणः ॥
सृष्टं तदत्र युवराजनरेश्वरेण यद्दुष्करं किमपि येन गिरः श्रियश्च ।
प्रत्यायनं स्फुटमकारि निजे कवीन्द्रमेकासने समुपवेशयताभिनन्दम् ॥
उदयसुन्दरी—प्रथमोच्छ्वासः ]
l. 20. चन्द्रगुप्तौ. 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 Sāhasāṅka and there is one Sāhasāṅka who is also
described as a poet in the verse—
भासो रामिलसोमिलौ वररुचिः श्रीसाहसांकः कविः etc.
Sūktimuktāvali.
It seems probable, therefore, that Candragupta of this verse
may refer to the same Sāhasāṅka who is to be identified with
Candragupta II of the Gupta dynasty.
विशाला=Ujjayinī.
l. 22. Here the names उपवर्ष etc. seem to have been arranged
in a strictly chronological order, because otherwise, according to
the rules of Pāṇini : अल्पाच्तरम्, the word वर्ष must precede उपवर्ष in the
compound द्वंद. उपवर्ष is known as the earliest commentator on the
Mīmāṁsāsūtras of Jaimini and Bādarāyaṇa. Varṣa is mentioned

ELEVENTH ADHYĀYA 209
as the teacher of Pāṇini in the Kathāsaritsāgara. Pāṇini and
Piṅgala are the Sūtrakāras on grammar and prosody.
Vyāḍi is the author of a work called "Saṅgraha" which is
quoted by Patañjali and Bhartṛhari. cf. संग्रहो व्याडिकृतो लक्षश्लोकसंख्याको
ग्रन्थ इति प्रसिद्धिः (Nāgeśa's Uddyota on Mahābhāṣya Kaiyaṭa 1-1-1).
Adhyāya XI.
Page. 56.
Rājaśekhara deals in the following three chapters with the
subject of शब्दार्थहरण or plagiarism of both words and ideas. It is in-
teresting to note that no author before Rājaśekhara had dealt this
subject with such a wealth of detail as is done here. Only
Vāmana and Ānandavardhana 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 Rāja-
śekhara's information. Among later writers, Kṣemendra treats
of this subject in his Kavikaṇṭhābharaṇa with different details,
while Hemacandra incorporates all these three chapters in his
commentary on the Kāvyānuśāsana. (pp. 8-10.)
l. 4. Examples of plagiarism in respect of वृत्त or metre and
प्रबन्ध or lengthy poem are not cited in this connection. The view
attributed here to the Ācāryas, is traceable in Ānandavardhana's
work as well as in the commentary thereon.
Cf. अक्षरादिरचनैव योज्यते यत्र वस्तुरचना पुरातनी ।
नूतने स्फुरति काव्यवस्तुनि व्यक्तमेव खलु सा न दुष्यति ॥
Dhvanyāloka 4-15.
But Rājaśekhara differs from him on certain points.
*[Borrowed in the काव्यानुशासनविवेक.
Cf. छायोपजीवी पदकोपजीवी पादोपजीवी सकलोपजीवी ।
भवेदथ प्राप्तकवित्वजीवी स्वोन्मेषतो वा भुवनोपजीव्यः ॥
कविकण्ठाभरण, संधि II.
दुराकृष्ट is quoted in कविकण्ठाभरण by Kṣemendra.]
ll. 7-12. Here the words शिलीमुखम् and किंकिरातान् having two
meanings are plagiarised in the second verse मा गाः पान्थ etc.
ll. 13-19. An example of borrowing of a part of a द्व्यर्थ word
in the same sense is given in these two verses. The second line
२७

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 मां is borrowed by another poet in the next
verse and combined with सरसं to express the identical meanings as
shown above (मांसरसम्=मां सरसम्।).
ll. 20-27. Here the word निरवधीरितम् has two meanings:
(1) 'repelled' and (2) 'unlimited spreading'. These two senses
are expressed with reference to (1) the army of the Asuras and
(2) the fame of Baladeva. The word हल in the first line may be
read as बल and the words आसुर and अपारपयोनिधिविस्तृतम् may be connected
with that as adjective. The same word निरवधीरितम् and the two
other words आकुल and आसुर which also have two meanings owing
to श्लेष with reference to the army and fame in the first verse,
are borrowed in the next verse which forms an example of यमक
and expresses the same sense.
Page. 57.
ll. 1-4. Here the word कर्णायतेक्षणम् is श्लिष्ट and as such this
line bears the following two meanings: (1) the crowd of
paramours is behaving for the moment in the same manner as
Karṇa and (2) the face of the lady has eyes long up to her ears.
The same word कर्णायतेक्षणम् is borrowed in the next verse to
supply an answer to the three questions put forth in the same
verse. The first two questions are "what does the paramour do in
the house of a prostitute and for what time?" The answer is:
कर्णायते, क्षणम्. He acts as Karṇa and for a moment. The third
question is "what kind of face he looked at?" The answer is
कर्णायतेक्षणम् i. e. the eyes of which are long enough to reach the ears.
*[l. 6. वरदाय नमो हरये पतति जनो यं etc. occurs as the first verse
in वृन्दावनयमककाव्य of मानाङ्क.
l. 8. चक्रं दहतारम् (रुद्रटकाव्यालङ्कार. III. 4.)].
ll. 5-10. Rājaśekhara's suggestion that Rudraṭa in his verse
चक्रं दहतारम् etc. borrowed words from the Mānāṅka's verse वरदाय नमो
हरये etc, makes it probable that the poet Mānāṅka the author of
the Vṛndāvanayamakakāvya (printed in the Kāvyasaṅgraha by
Jīvānanda Vidyāsāgara) flourished before Rudraṭa (cir. 850-900).

ELEVENTH ADHYĀYA 211
आरं=अरिसंबन्धि । अरं=शीघ्रम् ।
The prose order of this line may be like this:—
राजन् आजौ आरं चक्रं अरं दहता तव खड्गेन हता अरिनारी चकन्द ॥
*[ll. 12-13. विशीर्यति and शीर्यति. Both the Mss have the
Parasmaipada while the correct form should be विशीर्यते and शीर्यते ।
The Mss of the Kāvyānuśāsanaviveka have the Ātmanepada.]
ll. 11-19. From the passages नन्विदममुपदेश्यमेव न भवति etc., it
appears that in the opinion of Avantisundarī, plagiarisms from
earlier authors of higher reputation were considered as much gre-
ater offence than ordinary thefts. But she permitted borrowings
from inferior authors by those who are superiar in reputation, etc.
*[l. 21. स पातु वो यस्य जटाकलापे quoted in सुभाषितावलि (No. 63.
कस्यापि).
l. 25. स पातु वो यस्य हतावशेषाः attributed to Candraka in सुभाषितावलि
(No. 30); also quoted in the commentary of ध्वन्यालोक ll. 6. ]
ll. 20-28. Ācāryas think that the borrowing of more than
three अश्लिष्ट words in sequence is to be considered as plagiarism.
An illustration of this is: स पातु वो यस्य borrowed in the second verse
where all the four words occur in the same order as in the first.
The two इव words, in the first verse, show the वाक्यार्थोपमा in
this verse. This figure is defined by Daṇḍin as एकानेकेवशब्दोत्था
वाक्यार्थोपमा द्विधा.
Kāvyādarśa. 2-43.
Cf. शरैरुत्सैरिवोदीच्यानुद्धरिष्यन् रसानिव ।
Raghu. 4-66.
Page. 58.
*[l. 3. इत्युक्तवानुक्तविशेषरम्यम् (किरात. III. 10).]
ll. 1-14. Rājaśekhara disagrees with the Ācāryas 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 plagiarism. इत्युक्तवानुक्तविशेषरम्यम् occu-
rring in these two verses, is an example of the second kind, while
शङ्करक्षीरसिन्धवे is an instance of the first kind. Here, the figure of

212 EXPLANATORY NOTES
speech known as रूपक applies to both शङ्कर and क्षीरसिन्धु 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 शङ्करक्षीरसिन्धवे is borrowed from the former verse. The
reading नाप्रत्यभिज्ञायातः as found in the A and B MSS, however, gives
quite a different meaning, and this is almost diametrically oppo-
site to the meaning given above. According to this the sentence
should be construed as :—
अप्रत्यभिज्ञायातः पादोऽपि न परिहरणीयः । तस्यापि साम्ये न किञ्चन दुष्टं स्यात् ।
That being the case, the pāda इत्युक्तवान् 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-
śekhara 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 इत्युक्तवान्
etc. has only three words and according to the Ācāryas this is not
an example of plagiarism. But Rājaśekhara thinks that this
also is to be avoided.
ll. 15–25. Here also Rājaśekhara rejects the view held by
the Ācāryas. The line may be construed as अन्यथात्वकरणकारणं पादः नैव
हरणम् । अपि तु स्वीकरणम् । The same pāda त्यागो हि सर्वव्यसनानि हन्ति used in
the first verse in praise of त्याग is quoted in the next verse in order
to denounce it. The verse त्यागो हि सर्वव्यसनानि हन्तीत्यलीकमेतत्. etc is
attributed to S'ūdraka in the Subhāṣitāvali but it cannot be traced
to his Mṛcchakaṭika. The Ācāryas hold that this is not an
example of plagiarism, but only an adaptation of a pāda from
an earlier verse by a later writer. Rājaśekhara's view is that
such adaptations without acknowledgment also are to be avoided.
Page. 59.
ll. 1–6. Rājaśekhara exemplifies here another instance of
plagiarism. Here, out of the two halves of the verse, the first half
पादस्ते नरवर etc, is taken over bodily and the second is changed by a
later writer. सीवनी=a line connecting the scrotum and anus.
*[ l. 8. तत्तावदेव attributed to प्रकाशदत्त ।
l. 17. अरण्ये निर्जने, Subhāṣitāvali (No. 555). ]