Studies in the History of Sanskrit Poetics v2.c87.35

v2.c87.35

The rest of the work, devoted to topics of a similar character, does not throw any further light on his general view of Poetics. The seventh chapter, which comes next, analyses the modes of speech on a novel basis, referring to the promulgators of different religious doctrines, into brāhma, śaiva and vaiṣṇava, with their sectarian subdivisions ; and after a brief mention of the three rītis of Vāmana²⁰, we have some remarks on the methods of reading or pronunciation of different peoples, incidentally discussing the question of appropriate language and style of gods, apsarasas, piśācas etc. The eighth chapter enumerates the sources or auxiliaries of poetry (kāvya-yonayaḥ), already referred to by Bhāmaha (i 9) and Vāmana (i. 3), such as the scriptures, the law-books, the epics, the Purāṇas etc., and gives a long list of arts and sciences, as well as philosophical systems, which contribute to the content of poetry²¹. The next chapter is concerned with the possible themes of poetry, topically referred to by Ānandavardhana (p. 146), according as it deals with incidents and personages, human, divine, or pertaining to the lower world (*pātāla*), by themselves or in different combinations. Two very interesting chapters follow on the elaborate ²² classification of the different shades of borrowing or plagiarism (*haraṇa*), with reference respectively to borrowing of words and borrowing of ideas. A verse is cited towards the end which says that there is hardly any poet who does not ‘steal’ from others, but the best of stealing is cleverly concealing the fact ²³. But mere reflection or copying of ideas is condemned as unpoetical (*so’yaṃ kaver akavitvadāyī sarvathā pratilimba-kalpaḥ pariharaṇīyaḥ*, p. 68). The true poet is said to be one who discovers something novel in the expression of words and ideas, as well as restates what is old ²⁴. The next chapter, therefore, details thirty-two different modes by which plagiarism or literary borrowing may be skilfully turned to advantage (a question which must have assumed some importance in in Rājaśekhara’s time), all the points in these interesting chapters being profusely illustrated by examples drawn from the works of various poets. This discussion is followed by three chapters on the established poetic conventions (*kavi-samaya*), with reference to countries, trees, plants, flowers etc., as well as about intangible things (e. g., a smile should always be described as white). There are two more chapters on geography (*deśa-vibhāga*) and the seasons (*kāla-vibhāga*) respectively, the former mentioning the countries, rivers, mountains etc. of India, the products peculiar to each, the colour and complexion of various peoples, and the latter describing the winds, flowers and birds, and actions appropriate to various seasons.