210. 208 HISTORY OF SANSKRIT POETICS

208 HISTORY OF SANSKRIT POETICS

Uddyotas has not yet been found. The author of the Kaumudi also wrote ममूरसन्देश which was published by Dr. Kunhan Raja who is himself a descendant of the author. Vide Prof. K. R. Pisharoti in Journal of Ganganath Jha Institute, vol. I. p. 445-452. Prof.Pisharoti shows that उदयोत्तक was alive about 1480 A. D. and came of a princely family. The author of the कौमुदी quotes his own verses on pp. 227, 234, 261 & c. The ध्वनिगाथापजिका of रत्नाकर (see Govt. collection of mss. at B. O. R. I., cat. vol. XII. No. 182) explains the Prākrit verses occurring in the घवo. The रत्नाकर is probably later than लोचन as the former's explanations agree almost word for word with those given by the Locana. In the colophon he is styled काश्मीरकाचार्य. It would be almost impossible to hold that लोचन borrows from him. The verse on p. 133 चन्दमऊ ... करइ गरूई is quoted but not explained in sa. TT. 4. (folio 4a) and the corrupt verse on p. 297 (afar.) is not cited nor explained. In some cases व्व. गा. गा. प, (folio 7a) helps in restoring the प्राकृत text and its chya as on p. 192 (the प्राकृत verses अएयत्त वच्च बालअ्र०). There are 46 Prakrit verses quoted in the Dhvanyaloka out of which 20 have not been yet traced. In several other places the लोचन refers (in the words अन्यः, कश्षित् &c)to the explanations and comments of the passages of 'the धवन्यालोक or the illustrations cited therein, but dose not name the author nor does it add the words इत्यलं पूर्ववंश्यैः सह विवादेन. The views quoted are likely to be those of चन्द्रिका in some cases and of भट्टनायक in others, vide Pp.8, 23 (यस्तु ध्वनिव्याख्यानोद्यतस्तात्पर्यशक्तिमेव ... स नास्माकं हृदयमावजयति), 42 (यस्तु व्याचष्टे ... स प्रकृतार्थमेव अ्रन्थार्थमत्यजत्), 151, 180, 217, which are cases where probably the afzr is referred to, while p. 69 (यत्तु वाक्यमेद: स्यादिति केनचिदुक्ं तदनभिश्वतया), 248, 259 seem to refer to the views of independent writers like भट्टनायक, मीमांसकS and others. 16 The काव्यमीमांसा of राजशेसर. Thiswork has been publi- shed in the Gaikwal Oriental Series (3rd edition of 1934 with a learned Introduction by C. D. Dalal, Pandit R. A. Sastry and K. S. Ramswami Sastry and there is another edition with a Hindi translation by Pandit Kedarasarma published by the बिहारराष्ट्रमाषापरिषद in 1954, which does not clearly state on what mss. material it is based and in the Chowkhamba S. series with a modern commentary. This is a unique work, but it does not directly concern itself with the exposition of rasas,

RAVY AMiMANSA 209

gunas or alankāras, and it is rather in the nature of a practical handbook for poets. It is divided into 18 chapters. The following is a brief analysis of the contents. I, शाखसंगरह, narra- tes how instruction in काव्यमीमांसा was imparted by Siva to Brahma and others (64 in all) and how from Brahma through a succession of teachers and pupils the 18 sections of the rag- मीमांसा were dealt with by 18 different writers (vide p. i above), how राजशेखर of the यायावरीय family summarized the views of sages. II शाखतरनिर्देश-वाङ्मय is of two kinds शास and काव्य; शाख is अपौरुषेय and पौरुषेय; the four Vedas, 4 उपवेदs (vide above p. 18 note), six angas (and their subjects); यायावरीय thinks that भलक्वार is the seventh anga; पौरुषशास is constituted by the पुरायड, भान्वी- च्षिकी, the two मीमांसाs, 18 स्मृतिs, the number of विधास्थानs, 14 or 18 is the number of विचाs according to various authorities, याया- वरीय calls काव्य the 15th विधास्थान; meaning of such words as सूत्र, भाष्य, वृत्ति, पद्धति, टीका, समीक्षा, पजिका, कारिका etc .; different views about the number of विधाs and राज० thinks that साहित्य is the 5th विद्या. III. काव्यपुरुषोत्पत्ि; a mythical account of the birth of काव्यपुरुष from सरस्वती; काव्यपुरुष is described as 'शब्दाथी ते शरीरं, संस्कृतं मुखं, प्राकृतं बाहुः, जघनमपभ्रंशः, पैशाचं पादौ, उरो मिश्रम्। सम: प्रसभनो मधुर उदार भोजस्वी चासि। उक्तिचयं च ते बचो, रस भात्मा, रोमाखि च्छन्दासि, प्रश्नोत्तर प्रवह्विकादिकं च वाक्केलि:, भनुप्रासोपमादयक् त्वामलवकुर्वन्ति।' (p. 6), marriage of काव्यपुरुष with साहित्यविद्यावधू at the city of वत्सगुल्म (probably modern Basim in Berar); the definitions of प्रवृत्ति, वृत्ति and रीति; IV पदवाक्यविबेक ;- what are the essential requisites to become a poet? यायावरीय said राफि was the only काव्यहेतु and gave rise to प्रतिभा and व्युस्पति; while others said that the aid of समाधि (concentration) and भभ्यास was required; various classifications of poets; V काव्यपाककल्प-meaning of म्युत्पचि, शाखकवि, काव्यकवि and उभयकवि and their sub-divisions; the ten stages (भवस्था) of a poet, the various meanings of the term पाक; VI पदवाक्यविवेक-the five gfिs of शब्द, सुप, समास, तद्धित, कुत and तिक्; definition of वाक्य; its threefold expressive power वैभक, शक्त, शचि- विभकिमय; ten kinds of वाक्य; definition of काव्य as 'गुलवदलककृतं च वाक्यमेव काव्यम्'; VII पाठप्रतिष्ठा-the appropriate languge and style for gods, Apsarases, पिशाच &c; the three रीति: बैदभी, गौडीया and पाब्चाली; काकु of two kinds and their sub-divisions with illustra- tions, the intonation of various peoples in India and the diffc- rent languages they employ;1 VIII काय्यांरथयोनय :- the sources 1. For example, he speaks about लाट, काशमीर and पाशाल -