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TULSI-PRAJŇA
speech came out the ritis. Considering the minute variations from place to place, each may have numerous divisions, but according to the dominant features only four divisions could be made. Of Anga and other provinces of the eastern region the Pravṛtti was called Audramāgadhi, the Vrtti Bharati and the Ritu Gaudi. Of Pancala and other neighbouring provinces the Pravṛtti was called Päñcālamadhyama, the Vrtti Sātvati Arabhati and the Riti Pancali. Of Avanti and the neighbouring provinces the Pravṛtti was called Avanti, the Vrtti Satvati and Kalsiki. Of Malava and the neighbouring Janapadas the Pravṛtti was called Dākṣiṇātya, the Vrtti Kalsiki and the Riti Vaidarbhi. Cumulative effect of all the Pravrttis Vrttis and Ritis propitiated Kavyapuruşa and he fell in love with Sahitya Vidya Vadhu. The two got tied in wed-lock, came to their mothers Sarasvati (mother of learning) and Parvati (mother of creation), obtained their blessings and at their behest began to inhabit together in the mind of the poets.
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In this allegory Kavyapuruşa stands for the intellectual or the discipline aspect of poetic composition whereas Sahityavidya Vadhu stands for the experiences of life. In the beginning of the tenth chapter of the Kavyamimāmsă Rajasekhara while defining Kavya vidya says that study of the nominal and verbal forms of words, lexicons, prosody and rhetorics is Kavyavidya. This is an intellectual excercise and helps the poet in making poetry. Sahityavidya Vadhu is the experience of life. She assumes the attires, the gestures and diction of the people. Thus, Kavyapuruşa and Sahityavidya Vadhu inhabiting the minds of the poets indicates that the discipline of poetic composition and varied experiences of life together make poetry.
In the Kavyamīmāmsā wherever Rajasekhara advises poets to cultivate the allied discipline, he directly or indirectly refers to the experience of life as well. In the tenth chapter itself where he advises poets to cultivate Kavyavidya he does not forget to mention that experience and knowledge of life and land is the fountain head of poetry. In chapter VIII under the title Kavyarthayonayaḥ Rajasekhara gives an exhaustive list of sources of poetic themes. These are Śruti, Smrti, Itihasa, Purāṇa, Pramāņa vidya (Mīmāmsā, Sänkhya. Nyaya-Vaisheṣika, Bauddha, Lokayata and Arhata doctrines), Samaya vidya (different religious beliefs, Rajasidhāntatrayi (Arthaśāstra, Natyaśāstra and Kāmasūtra). To this list of the traditional lores Rajasekhara appends Loka (life) and Viracana (poetic fancy?) as well.
Other Acaryas too have mentioned life (Loka) and learning
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