Studies In Sanskrit Sahitya Shastra

Author(s): V M Kulkarni
Publisher: B L Institute of Indology

Page 15

Sanskrit Sahityaśāstra
'Artha' in fcetiy may te original or cerivative. Both these varieties have each three subdivisions: 1) that which is easily intelligible, 2) that which is subtle but can be grasped after giving some thought to it and 3) that which is subtle and is understood only after very careful attention and deep thought. ..
As is clear from this exposition Vāmana simply vaguely touches the topic of plagiarism and leaves it there.
It is Anandavardhana, the author of the Dhvanyaloka (an epoch-making work in the history of Kāvya-śāstra, A.D. 850-875) who, in the interests of later poets sets forth a clear exposition of the topic of originality and literary theft. His views may briefly be summarised as follows:
The words of a later poet, even if they may correspond to his predecessor's, gain freshness and novelty when they are used to convey a suggested sense. The province of poetry is unlimited owing to the almost infinite varieties of the suggested sense in spite of the fact that hundreds of poets have composed works for centuries. Good poets can celebrate the events and episodes of the world in their poems, at their sweet will, making them to convey any of the divisions or sub-divisions of
dhvani'-suggested sense. The thoughts of old poets when made to glow with some suggested sense, appear new-like the trees in the spring. The subject-matter of poetry attains novelty also when the later poets employ suggestive words etc. A poet, who composes his poetry having regard to the suggestive sense and the suggestive words definitely imparts newness to his subject. For instance, the descriptions of battle etc. in the works like the Rāmāyaṇa and the Mahābhārata though frequent, appear very new. If one is gifted with creative genius, there would be no paucity of subjects in spite of the fact that there already exist numerous works of former poets.
The statement that there are infinite subjects of poetry if only we take into consideration the infinite varieties of dhvani is also equally true of the expressed sense. Objects, sentient and insentient are distinct in their very nature. In the context of time, place and their modifications they further present multifarious facets. The almost infinite facets being capable of poetic treatment can never be exhausted even if they are drawn on by countless poets, known for their mastery of language, to say nothing of the mediocre poets. 3. Th: editor of the Kávyamimāṁsā (Baroda edition) says in his notes that Vāmana 'discovered
that there are three distinct divisions of it' (p.220). Obviously the statement is incorrect. 4. Cf : 3917 P art dateret: Tilfa: 1
यथास्मै रोचते विश्व तथेदं परिवर्तते ॥ शगारी चेत् कविः काव्ये जातं रसमयं जगत् । स एव वीतरागश्चेन्नीरसं सर्वमेव तत् ॥ भावानचेतनानपि चेतनवच्चेतनानचेतनवत् । antitela 70 la: 107 Elara ll - Dhvanyaloka III. 42-43 (p. 498)