Studies In Sanskrit Sahitya Shastra

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

Page 22

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Studies in
These thirty-two varieties are defined as follows:
1. Vyatyastakaḥ-In this variety the 'artha' is the same but there is an inversion of the natural order.
2. Khandam-Adopting, but partially, the same 'artha'.
3. Tailabi dub-Developing or enlarging the idea (of an earlier poet) given in brief. 4. Naṭanepathyam-Expressing the import of an earlier poem in a different language by means of translation.
5. Chandovinimayah-Expressing the same import in a different metre.
6. Hetuvyatyayah-Expressing the same 'artha' by reversing its cause.
7. Sankrantakam-Transferring what is mentioned by an earlier poet with reference to one thing to another thing in his poem by a later poet.
8. Samputab-Combining in a concise manner the import of two different stanzas belonging to earlier poets.
This eight-fold Pratibimbakalpa
'artha' must, at all costs, be avoided as it would ruin all chances of winning fame as a poet. For in poetry if the same matter is found in a different poem, it is not looked upon as different just as in ordinary life the reflection of one's body in a mirror is not regarded different from one's body. The eight sub-divisions of Alekhyaprakhya :
1. Samakramah-When a later poet transfers the description of a thing given by an earlier poet to another that is similar.20
2. Vibhstanamoşah-Reproducing the same description after stripping it off of its embellishments.
3. Vyutkramah-Inversion of the order in which a particular thing is described. 4. Visefoktib-Describing in detail what has been said in general.
5. Uttathsah-Adopting as the principal what was given as subsidiary..
6. Navanepathyam-Giving the same thing a new appearance by means of new style. 7. Ekaparikaryah When a later poet changes the object of description but adopts the same style, this variety arises.
8. Pratyapattiḥ-When a later poet describes the thing in its own state which was represented by an earlier poet as altered or changed.
Rajasekhara approves of this kind (Alekhyaprakhya) of borrowing and quotes in support of his view, a verse:
"The entire subject-matter (of poetry) when presented in a new garb of varied striking expressions gains a new look-appearance, like an actor whose appearance changes altogether on account of his new dress, mask, painting etc."
19. सोऽयं कवेरकवित्वदायी सर्वथा प्रतिबिम्बकल्पः परिहरणीयः ।
20 On a careful scrutiny we find that the varieties No. 1, 2, 3, 4 and 6 of Alekhyaprakhya are not much different from Sankrantakai, Khandam, Vyatyastaka, Tailabindu and Națanepathyam varieties, respectively, of the Pratibimkalpa.
21 It deserves our notice that Anandavardhana denounces this kind of Alekhyaprakhya borrowing as it only shows the lack of originality on the part of the borrower.