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

Page 387

Concept of Compatibility : Departure Sanctioned
from
Rules
in the last Sutra of the fourth chapter (IV.9), Hemachandra, like Mammața (K, P. VIII), sanctions a change in the fixed nature of composition in accordance with its suitability to the nature of (1) the speaker, (2) the subject-matter and (3) the type of work or discourse. He says : "Sometimes composition and so forth become otherwise owing to the propriety of the speaker and the like. Speaker etc. means the person who speaks, the nature of the subject-matter dealt with or the composition and 'so forth', means the composition, the metre and the letters (Kāvyānuśāsan IV. 9).
In a short comment in the Viveka Tikā (p. 292), Hemachandra observes that if the subject matter here were suggestive of wrath etc., then the bombastic diction etc. would fit in here; nor again is this piece not to be represented so that it would permit deviation of composition etc. In fact this piece is a representational type. Hence, composition and diction such as bombastic etc. would be appropriate in sentiments like Raudra etc. For this reason, the sanction for a change in the arrangement of letters etc. springs from the propriety of the speaker etc. 146
Now, one may wonder why the soft and delicate words are: not employed in the portrayal of Sțngära in an Akhyāyikā type of composition, as mentioned by Hemachandra in his gloss just discussed. Hemachandra clarifies this statement in the Viveka by saying that since Akhyāyikā and Kathā are both prose romance works or Gadyakāvyas, and since prose is by definition forceful in style, using altogether soft words is an impossible proposition. 147
So far as his gloss relating to the avoidance of long compounds in dramas is concerned, the Viveka elucidates the point that the objection is not only with regard to the avoidance of long compounds in plays where Karuņa and Vipralambha
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