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VAISHALI INSTITUTE RESEARCH BULLETIN NO. 2
Again Kavyakavi are divided into the following eight categories: (i) Racanakavi-primarily interested in weaving a rhythmical pattern, content being no more than a mere pretence. The example is illustrative :
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This will fall under Śabdacitra category of Mammata.
(ii) çabdakavi-Generally Verbose using repeatedly either nouns or verbs or both.
लोल्लाङ्ग लवल्ली वलयित नकुलानोकहस्कन्ध गोलैगलाङ्गलैर्नदद्भिः प्रतिरसित जरत्कन्दरा मन्दिरेषु । खण्डेद्दण्ड पिण्डीतगरतरलकाः प्रापिरे येन वेला भालङ्खयो तालतल्लस्फुटित पुटकिनी बान्धवो गन्धवाहाः ॥
(ii) Arthakavi-primarily interested in the content.
(iv) Alamkarakavi - One who contrives to use various figures of speech abundantly. Obviously categories (i) and (iv) may overlap. (v) Uktikavi—versed in bringing some striking qualities in expression.
In both the illustrations provided there is a deliberate attempt at bringing in elements of surprise. In the first breath breaks, arms lick and eyes drink and they all surprise by the unexpectedness of their actions. Similarly in the second lips desire, cheeks descend, eyes speak; abstract and intangible sweetness is touched and slenderness is adhered to. The latter is still more ingenious for the actions taken in order1 also suggest a parallel image of a woman gradually descending to physical love, through desire, condescension, communion and physical touch.
The illustrations are carefully chosen for they do betray the poet's undue predilection for 'Ukti'. In his zeal for contriving surprise it is
1. वैचित्र्य
2.
3.
प्रतीच्छत्याशोकी किसलयपरावृत्तिमधरः कपोलः पाण्डुत्वादवतरति ताडीपरिणति । परिम्लानप्रायामनुवदति दृष्टि: कमलिनीमितीयं माधुर्यं स्पृशति च तनुत्वं च भजते ॥
4. प्रतीच्छति, अवतरति, अनुवदति, स्पृशति and भजते ।
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Kavya M ch. V.
Ibid. ch. V.
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