Kavyanushasana Critical Study

SR No.: 001713
Original Sutra Author: N/A
Author: A N Upadhye
Publisher: A N Upadhye
Publication Year: 1987
Total Pages: 558
Language: English
Classification: Book_English, Literature, & Kavya
File Size: 10 MB

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or Avaidagdhya (An unpoetic or rustic, vulgar sense), Aslilatva (Indecorousness), Sākānkşatva (Incompleteness), Sandigdhatva (Dubiousness or Ambiguity), Akramatva (Absence or Impropriety of order), Punaruktam (Tautology), Bhinnasahacaratva (Dissimilarity), Viruddhavyangyatvam or Prakāśitaviruddhatva of Mammața (suggesting a sense opposed to the intended sense), Prasiddhiviruddhatva (Opposition of the suggested sense to usage and is the same as the previous one having repugnant or inconsistent sense), Vidyāviruddhatva (Opposition to sciences), Tyaktapunarāttatva (Resumption of the concluded), Saniyamaparivịtatva (Improper Non-limitation), Aniyamaparivị. tatva (Improper limitation), Visesa and Aviseșaparivịtatva (Improper non-specification and improper specification), Vidheyāyuktatva (Improper predication) and Anuvādāyuktatva (Improper attribution). Exceptions or Apavādas
After exhaustively explaining the different kinds of blemishes, both verbal and ideal, Hemachandra proceeds to deal with the exceptions to these blemishes in the last three Sutras of the third chapter (Ill. 8-10). He provides that all blemishes cease to be blemishes where there is Imitation. Again, if the speaker, etc., are proper, no blemish arises. Thus the force of the character of the Speaker Hearer, Suggestion, Subject-matter, Context, etc., nullify and neutralise the blemish or turn it into a merit (vide K.A.S.III 9-10). However, Hemachandra does not duplicate his effort here since he has already dealt with Exceptions under the different Doșas. A Critical Reviews of Hemachandra's Treatment of Doșas
This marks the end of Hemachandra's treatment of the poetic blemishes in so far as they relate to Rasa, sabda and Artha. Looking back on the third chapter of the Kavyānušāsana, we find that the treatment of Doşa is theoretically consistent from the standpoint of Dhvani-Kāvya and exhaustive from the point of view of Mammața's codification which has taken into
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