Kavyanushasana Critical Study

Author(s): A N Upadhye
Publisher: A N Upadhye

Page 29

Hemachandra's Theoretical Objective
Hemachandra's composition of the Kavyānuśāsana, viewed against the background of the Dhvani-theory, reveals the fact that, being an ardent admirer of the Dhvani principle and the theory of Rasadhvani, Hemachandra must have felt the need to prepare a comprehensive work on Poetics representing. the predominance of the principle of Dhvani. And it can be stated without any hesitation that the Kāvyānuśāsana fulfils. this task of following, in the main, the trend set up by Anandavardhana and Abhinavagupta, followed by Mammata, admirably. For, "In the department of poetics, where as an early Nibandha writer, he (i.e. Hemachandra) made his name, constructive work had given place to systematizing and co-ordination by the end of the century and it had become the fashion to formulate, elucidate or tabulate whatever was taught. by great masters."5 Undoubtedly, therefore, the Kavyānuśāsana occupies an important place in the field of Sanskrit Poetics, faithfully following as it does, the all-important Rasadhvani doctrine in all its ramifications.
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While remaining loyal to the Dhvani School, the Kavyanuśāsana attempts to be as comprehensive as possible, since its main objective is to bring together all the important discussions on the relevant topics both of Poetics and Dramaturgy. So, it was with a view to preparing a complete text-book on all the relevant topics of Poetics whether they traditionally belonged or the science of Poetics to that of Dramatics that Hemachandracharya undertook to compose this work. And his credit lies in thrashing and systematizing things utilized and in modifying them when that is necessary as evidenced in his incorporation of the Alaṁkārasamikṣa of the Dhy. Al. Ch. II which Mammata did not incorporate in the K.P.; in his finding fault with Mammata's eightfold division of Guṇibutavyangya;: and, in his use of Kuntaka's approach to wards figures
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