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Vol. XXIII, No. 2
(Vidyā), as constituents of poetry or the source of poetic themes. Among these Rudrata went as far as to generalise that there can be no word, no denotation of a word, no stand point and no art which may be iacapable of constituting poetry. In short a capable poet can make poetry out of anything. But excellence of Rajasekhara lies in his going into the details and substantiatiog his propositions with suitable illustrations. His illustrations are really very significant, These evince that a poet, qua poet, is not concerned with upholding or opposing any thought or doctrino. All he is concerned with is making poetry out of it. And it is with this end in view that he imbibes from all the streams of learning, all religious doctrines and all philosophical postulates Some of the examples of converting an idea into poetry that he gives in his Kavyam[māṁsā are really very bold and they are exposed to the risk of an ardent advocate of that idea taking umbrage. Words indicate the intention of the speaker (i.e. they don't have any ipherent meaning, rather they derive meaning from the intention of the speaker). This Buddhist doctrine is turned into poetry in the following lines :
"Bhavatu viditam sabdá vakturvivaksitasūcakah Smaravati yatah kante kāntām balāt paricumbati / Na na na ma ma mā mā mām spraksirnişedhaparam vaco
Bbavati sithile managrantbaṁ tadeva vidhayakam //
A serious advocate of this doctrine may feel that an important point of view has been taken very lightly or rather it has been travestied. But a poet is concerned with making poetry and qua poet he need not go beyond this.
At the beginning of the Kāyyapuruşa allegory Sarasvati prevents Kavyapuruşa from going to the assembly of the learned șșis discussing tbe Vedas (Sruti). This may imply that the Śrutis or any discipline proper is not the home of Kävyapuruṣa. Tbey may utmost be his haunts. His homeland is the God's plenty, the varied experiences of life which ultimately he finds to be his lot when he wanders throughout the length and breadth of the country in the company of Sāhityavidyā Vadhū.
Rajasekhar advocates the observance of Kavisamaya (poetic conventions) because by continous vogue they have obtained a sort of traditional sanctity. Even if a poetic convention is not vouched at a particular time or place, the poet, according to Rājasekhara has to carry it on because by virtue of being used by the ancient poets it has established itself at least on an ideal footing, if not factual. In the Kavyamīmāṁsā Rajasekhara cites a number of poetic conventions with examples of their use in poetry. He believes that at some place,
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