________________
788
SAHŞDAYĀLOKA kulakam. a-samhatárthānām eka-kaver anekakavīnām vā nibandhaḥ kośaḥ. yathā āryā-sapta-śatítyā”dih. kalpita-vastukah eka-cchando-nirvyūdhaḥ samghāto meghadūtā"di." The Prabhā observes that these verse-groups are but portions of a mahākāvya. The first two viz. muktaka and kulaka (K.D. I. 13) are direct portions of a mahākāvya while the latter two are to be found out if they are incorporated in a mahākāvya. They are to be identified in view of their definitions - But we have observed that these verse-groups or minor forms can have independent existence out of a mahākāvya also and can have their separate identity also. They could be parts of a major composition as well. Kāvyādarśa (I.) kārikās 14-22 define Mahākāvya or a major composition in verse. The characteristics are almost common to those enumerated by Bhāmaha with some more details. Before we go through the same it may be observed with Dr. S. K. De that these features which appear as part of the so-called definition of a mahākāvya actually deal with accidents rather than with essentials. We further observe that before Bhāmaha and Dandin laying down definitions, some brilliant illustrations such as the compositions of Kālidāsa, Ašvaghosa, and Bharavi and some others not known to us were present. These literary critics tried to find out the features that earned these compositions tremendous popularity as well as poetic excellence. They tried to underline some common features observed in actual practice by the e masters. The sum total of these features was laid down as definition of a mahākavya or any other type of poetic composition either verse or pros may be. It is in view of this that, we will go to observe that Dandin at the end says that even if some of these features enumerated by us are not found in a given composition they do not cease to be a mahākāvya etc. Thus the accidental presence of these features was apparent to earlier critics also.
Dandin observes (K.D. I. 14) that mahākavya is a major composition divided in 'sargas' or chapters : sargabandho mahākāvyam. In its beginning is a blessing, i.e. āśīrvāda, or a salutation (to a personal deity) i.e. namas-kriyā, or it may just start straight away with direct narration of the story. Vastu-nirdeśa is explained by prabhā (pp. 16, ibid) as direct naming of the hero or metaphorically that of somebody connected with the hero. Or, 'vastu' is portion of narration which is referred to either directly or through suggestion. “vastu-nirdeśaḥ, vasati prastutavșttānto'smin iti vastu, kathānāyakaḥ laksanayā aparópi tar-sambandhi pradhānapuruṣaḥ. tasya nirdeśaḥ nāmóccāraṇa-pūrvaka upanyāsaḥ. athavā vastu, varnyakathābhāgah tasya nirdeśah. sāksād, vyañjanayā vā sūcanam. etat trayānām
Jain Education International
For Personal & Private Use Only
www.jainelibrary.org
