337 - Description of the characteristics of a kāvya

Agni said: 

1. Ishall describe the embellishments of poetry and drama and the like. The constituents of speech are sound, word, letters and sentence. 

2. Whereas the three are obtained in the sentences of the treatises (sästra) and epics, word is predominant in the treatises and the meaning is dominant in the epics. 

3-5a. Kavya is different from these two because the power of denotation is dominant (there). It is difficult to be born as a man in this world and (acquiring) knowledge is more difficult. Being a poet is still difficult. Poetic genius, originality of ideas and power of discrimination are still more difficult. The entire sästra sought by people who are not learned does not materialise. 

5b-6. The collection of letters falls into groups such as primary letters, secondary, the aspirated and the fourth. Words (are divided into two) on the basis of distinction as nouns and verbs. Sentence in brief is a series of words possessing a delightful sense, 

7. Kävya is that where literary embellishments are displayed and which possesses literary merits and is free from blemishes. The sources of (poetry) are the Vedas and the world. A kavya not originated from the above sources could be understood from the import of the words. 

8. Samskruta (language) is for the gods and others. There are three varieties of Präkruta for men. Kävya etc, are known to be of three kinds-prose, poetry and mixed. 

9. Prose is (defined as) unmetrical combination of words. It is divided into three: Cūrņaka, Utkalikä and Gandhivrutta. 

10. What is known as Cūrņaka hasshort compounds and does not have very soft words. (Thesame) with long compounds would be Utkalika. 

11. Gandhivytta would have medium arrangement of words and absence of very difficult compounds. (It possesses) semblance of metrical form. 

12. The prose kavya is said to be divided into five-Akhy - åyikå, Katha, Khandakatha, Parikatha and Kathånika. 

13-15a. It is known to be Akhyāyikā where there is an eulogistic account of the ancestors of the author, a detailed description of the abduction of maidens, fight, separation and other calamities. Itshould be replete with riti (diction), vrutti (style) and pravrutti (power of words). Its story is divided into Ucchväsas (chapters). Itshould contain Chūrņaka type of prose at the end. It may (employ) Vaktra or Aparavaktra (metre). 

15b-17. It is designated as Kathā where the poet briefly praises his ancestors in metrical composition, where there is another episode while introducing the main theme. There would not be any division. Sometimes there would be (divisions called) lambakas. Khandakatha is contained in Katha in catuspadi (verses in four lines). Parikatha (is a combination of the characteristics of the two (Katha and Akhyāyikā). 

18-19. The hero is known to be a minister, merchant or a brahmin. Pathosshould be known to be the sentiment) of the two. Love in separation is of four kinds. The first one is not obtained (here). It follows the story. Parikatha is known so because of its mixed characteristics of Katha and Akhyayikā. 

20. Kathånikå (is defined as beginning with) the (sentiment of) terror embodying sentiment of love and (sentiment of) wonder at the end. It is accomplished with good sense and is free from bombastic (expressions). 

21-23a. Padya is (a metrical composition) of four lines, It is divided into two–Vrutta and Jati. Vrutta beginning with Ukthå and ending with Utkruti is regulated by the number of letters. Jäti is that where the syllabic instants are counted according to Kāśyapa. According to Pingala Vruttas (are divided) into three-equal (quarters), half-equal and unequal. It is theship of knowledge for those desirous of crossing the deep ocean of Kävya. 

23b-27. The family of poetry (consists of) Mahäkávya, Kalapa, Paryābandha, Višeshaka, Kulaka, Muktaka, and Koła. A Mahakavya is divided into sargas (cantos) and is begun with Sanskrit and those of similar nature are not avoided. The equivalent (Pråkruta) does not become a blemish. The theme has its origin from historical incidents or other real incidents. It may describe council of states, sending of emissaries and marching (of soldiers) in battle-array. Itshould not be very elaborate. Itshould be composed in equal (sama) (metres) such as Sakvari, Atijagati, Atisakvari, Trishțubh, Pushpitägra and Vaktra. Mukta describes different incidents not havingshort cantos. 

28-29a. (One canto inay be composed) in the Atisakyari and Ashti (metres), another in mixed metres, whereas some other canto (may be composed) in the Matra. The last canto (may be employed) for praiseworthy (matter). This optional rule is very much condemned. Hence good people do not respect it especially. 

29b-32. (Poetry)should be adorned with description of cities, seas, mountains, seasons, (the rise of) the moon and sun, hermitages, trees, gardens, sports in the water, drinking bouts and amorous dalliances, sending of female emissaries, the accounts of unchaste women, darkness, pleasant breeze and delineation of other vibhāvas (condition that produces a state of mind). Itshould contain all styles, power of words, bhāvas (states of mind), dictions, sentiments, qualities and embellishments. That is why (it is called) a Mahäkävya and its composer a great poet. 

33. The sentiment is its very life even though verbal ingenuity may be predominant here. (It gains) a body from the sentiments in the eloquent expressions being accomplished with special efforts. 

34-36. The fruit of the all-pervading fourfold object of human existence has been explained through the medium of the hero. Kalápa is composed in the same metre throughout and is soft on account of the Kaisiki vrutti (style). Here the sentiment is incipient love and sojourn abroad. It is Višeshaka when it contains (mention of) attainmentetc, and (is composed) in Sanskrit or any other (language). Kulaka would have many couplets. It is also known as) chained. Muktaka consists of single verses and is capable of gaining the admiration of good people. 

37-38. Koša is full of elegant verses of great poets. It is divided into sections called) Vrajyas¹ pleasing to the learned men. Where there is power comparable to splendour and in which there is a difference of the metre in a canto, (it is known as) the mixed. It is known to be (divided into two-Vapu and Prakīrņaka. Prakirnaka can be heard (read) and represented on the stage by all kinds of expressions.

1. The text wrongly reads Brahma.