________________
'काव्यालापांश्च वर्जयेत्', it is imperative that poeticists must convincingly establish the acceptability of Kāvya. In K.A.S. (1. 1. 1-2) Vamana makes an important point which serves as a reply to the moralists. Mammata reply (K.P. I. 1) seems to lie in showing the uniqueness and superiority of the poetic creation. Bhamaha (V. 3) points out that being delightfu land indirectly instructive Kavya has a greater appeal. This is Mammata's and Hemachandra's view also. Abhinava is followed by both.
8 "Sarasvatyāstattvaṁ kavisahṛdayākhyaṁ vijayate", Locana, opening verse (p. 1).
9 From here the discussion of the subject of The Making of A True Poet starts.
The question of the interplay of various factors in. the creative process has engaged the attention of Literary theorists and Art critics through the ages but it has defied elearer explanation. The main reason for this is that it is impossible to attemp an objective analysis of the inner workings of a creative mind. The problem is also complicated by the social and cultural values. associated with the role of a poet. Difference of opinion. regarding the origin of creativity also hampers clearer exposition. Hence, inspite of researches by specialists. and theorizing by critics and philosphers, the eternal. question still remains: "Are poets born or made ?"
Theorists like Bhamaha (I. 5), Daṇḍin (I. 103), Vāmana (1.3. 16 and gloss), Rudrața (1. 14), Mammata (1.3) and others try to answer this question in their respective works. Hemachandra insists that Pratibha is the sine qua non of poetic creation. Dr. K. Krishnamoorthy (Essays in Sk. Litt. Criticism, p. 174) gives credit to Vamana for describing Pratibha in an acceptable way. Rudrata distinguishes Sahaja and Utpadya varieties of Prtibha or Poetic Imagination.
Jain Education International
484
For Private & Personal Use Only
www.jainelibrary.org
