Studies In Sanskrit Sahitya Shastra

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

Page 45

Sanskrit Sahityaśā stra
After setting forth these varieties of kaku with illustrations, Rajasekhara observes: "Intonation is generally found in the speeches of the lady-companions or the heroine. and her lady-companion". He then waxes eloquent over the supreme importance of Intonation. "Speech, as adopted by people like grammarians and Mimämsakas is straightforward and direct. But speech as used by poets and dramatists is quite different, owing to the importance they give to voice-modulations. Modulations of voice are used in our daily speech. They, of course, have a prominent place in the Vedas, but of poetry they are the very soul". In fact, (kaku) not only reveals unmis takably a meaning different from the expressed one but also one's skill in the representation of various moods to the sahrdayas or rasikas. Finally, he praises the poet and the reader or reciter who are able to use appropriate intonation in his poetry and recitation respectively.
Bhoja20 does not speak of Rudrata's kakuvakrokti but enlists kāku under another broad figure of word called pathiri. He adopts the classification and the definitions of the varieties of kaku and their illustrations from Rajasekhara. He derives hist threefold classification of kaku into (i) nyatapratibandha (ii) anlyata-pratibandha and (iii) apratibandha from Rajasekhara's statement: a fast fra: afia: ya:: He creates his third category (apratibandha) from Rajasekhara's statement: एवं त्रिचतुर काकुयोगोऽपि | Triyoga and caturyoga found in Rajasekhara are classified more systematically by Bhoja: ekaguna, dvi-guna, triguna and caturguṇ.1.21
Mammaţi agrees with Rudrata in considering this kaku-vakrokti as Jabdālamāra (a gure of word).22 He does not take note of Rajasekhara's criticism referred to above. He further agrees with Anandavardhana in considering kakväkipta as a variety of gumibhitavyangya.2 At one place he suggests that kaku does not necessarily imply the kakvakṣipta variety of gunbhātavyangya.
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Ruyyaka (Rucaka) speaks of kakuvakrokti as an arthalamkara (figure of sense). Hemacandra following Rajasekhara, rejects kakuvakrokti as an as an alamkära. Like Anandavardhana, he takes it as a case of gubhitavyangya. He further adds in his work all useful information about kaku its etymology, its two varieties, its subjectmatter with illustrations and so on, adopting passages from Natjasastra (XVII), Abhinavabharatt and Locana (on Dhvanyaloka III, 38).
20 Sarasvati kṇṭhabharana II. 56: Śṛngaraprakāśa VII (Mysore edition, Vol. II. p. 240-242). Dr. Raghavan Bhoja's Sṛngaraprakāśa, p. 365.
21 Dr. Raghavan Bhoja's Sṛngaraprakāśa, pp. 687-688.
22 Kavyapra',asa IX. Kärikā I
23 Kavyaprak āśa V. Kärikä I.
24 Kavyaprakasa III. Kārikā I. The reader is referred to Mammaṭa's Vitti on the verse ṭailābhutāṁ dṛṣṭvā etc. (Veņi I):
न च वाच्यसिदयङ्गमत्र काकुरिति गुणीभूतव्यङ्ग्यत्वं शङ्कथम् । प्रश्नमात्रेणापि काकोर्विश्रान्तेः ।
25 A'am carasarvasva (Kavyama'a ed. pp. 219-220).
26 Kävyāśāзanı (M.J.V. ed. pp. 333-337).
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