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Vol. XXIII, No. 2 sekhara to include Poetics (Kavyavidyā) as the fifteenth branch of learning. Citing Kautilya that there are four disciplines—Anviksiki. Trayi, Vāritā and Dindiniti, Rajasekhara suggests that Sahityavidyā (creative literature) should be recognized as the fifth discipline. In his opinion it is the quintessence (Nisyanda) of the said four disciplines. As the other disciplines lead to the attainment of Dharma and Artha, so does the Sahityavidyā too The traditional sixty-four Kalās have been called Upavidyas by Rājasekhara and juxtaposed with the Vidyās.
Including rhetorics, poetics, creative literature and the sixtyfour Kalās among the traditional lores and mentioning the Jaina and the Buddhist philosophies as pūrva pkşa along with the orthodox stems is Rajasekhara's originalit. Kautilya includes Sānkhya, Yoga and Lokāyata in Anviksiki. Vātsyāyana in his commentary upon the Nyayaśāstra condiders Anviksiki as synonym of Nyayasastra.
Though the traditional lores (śāstra) hold a torchlight to the poet, it is actually life which inspires him to create poetry. In Kāvyanimāṁsā Rājasekhara bas indicated it in the allegory of Kávyapuruşa and Sahityavidyā Vadhu. Kavya purusa is the child of Sarasvati, the mother of learning (Vārmaya). One day she is going to Brahmasabhā (assemby of the learned to resolve some dispute regarding the Sruti The child Kavyapuruşa too insists on accompanving her. But the mother prohibitsOne should not go to the Brahmasabhā without being invited'. Kāyyapurușa is angry and he goes away leaving the Aśrama (where Sarasvati had been atoning for a human sin committed once in Brahmasabhā). To tame the turbulant Kāvya purusa Pārvatī, the mother of creation. produces Sāhityavidyā-Vadhū. She knew that there was no chord stron than love to tie and tone down a stray heart. She instructs SahityaVidya Vadhũ that her natural consort the Kävya purusa was angry and he was going stray; she has to pursue him and entice him with her charms. In this pursuit Rājasekhara has taken Kavya purusa and Sāhityavidyā Vadhů to a journey of the whole country. First of all they went to the east and travelled through Anga and other Janapadas. Sāhitya Vidya Vadhu decked herself in the attires of that part of the country and tried to concitiate Kavyapuruşa with the diction and the gestures and the dance and the music prevalent in the region. Subsequently, they travelled through Pāñcāla (in the west), Avanti (in the central part) and Malaya (in the soutb). Sahityavidyā Vadhû went on assuming the attires, the dance and music and the gesture and speech of these provinces to appease her man the Kāvyapuruṣa. From her attires came out the Pravrttis, from the dance, music and gestures came out the Vrttis and from her
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