The Poet

Rajasekhara an eminent scholar, critic and poet, was the Court poet of the Gurjara – Prathihara King
Mahendrapala (Ca.880 to 920 AD) who ruled over Magadha. In his Kavyamimamsa, which is virtually an
Handbook guiding aspiring poets, Rajasekhara outlines the desirable or the recommended environment,
life-style, daily routine, dispositions etc for a poet, as also the training and preparations that go to make
a good poet.

Sanskrit Kavya, in middle and the later periods, grew under the patronage of Royal courts. And, sometime
the King himself would be an accomplished scholar or a renowned poet.

According to Rajasekhara, many of the poets depended on the patronage of local rulers and kings. Among
them, the more eminent ones were honored as Court-poets (Asthana Kavi). Those who performed
brilliantly endeared themselves to the king; and, were richly rewarded.There was, therefore, a fierce rivalry
among the poets in the King’s court to perform better than the next poet; and , somehow, be the king’s
favorite.

A successful poet would usually be a good speaker with a clear voice; would understand the language of
gestures and movements of the body; and would be familiar with other languages , arts as well.

An archetypical picture of a poet that Rajasekhara presents is very interesting. The Kavi, here, usually,
lives in upper middle class society that is culturally sensitive. His house is kept clean and comfortable for
living. He moves from places – changing his residence – about three times in an year, according to the
seasons. His country residence has private resting places, surrounded by antelopes, peacocks and birds
such as doves, Chakora, Krauncha and such other. The poet usually has a lover (apart from his wedded
wife) to whom he addresses his love lyrics.

As regards the daily life of the poet, Rajasekhara mentions the Kavi would usually be a householder
following a regulated way of life such as worshipping at the beginning of each day, followed by study of
works on poetics or other subjects or works of other poets. All these activities are, however, preparatory;
they stimulate his innate power of creativity and imagination (prathibha). His creative work proper (Kavya-
kriya) takes part in the second part of the day.

Towards the afternoon, after lunch, he joins his other poet-friends,seated comfortably (tatra
yathāsukhamāsīnaḥ kāvyagoṣṭīṃ pravarttayed) where they indulge in verse-riddle games structured
around question-answers (Prashna-uttata). Sometimes, the poet discusses with close friends the work he
is presently engaged with – antarāntarā ca kāvyagoṣṭhīṃ śāstra-vādā-nanujānīyāt.

In the evening, the poet spends time socializing with women and other friends, listening to music or going
to the theater. The second and the third parts of the night are for relaxation, pleasure and sleep.

Of course, not all poets followed a similar routine; each had his own priorities. Yet; they all seemed to be
hard-working; valuing peace, quiet and the right working conditions. They were of four kinds:

catur-vidhaś-cāsau/asūryampaśyo,niṣaṇṇo, dattāvasaraḥ, prāyojanikaśca /

There were also those who chose to write when moved or inspired or during their leisure . They were, as
Rajasekhara calls them, occasional poets (data-vasara). Among them was a class who wrote only on
occasions (prayojanika) to celebrate certain events – dattāvasaraḥ, prāyojanikaśca.

Rajasekhara also mentions of those poets who were totally devoted to their poetic work. They invariably
shut themselves from daylight (asūryampaśyo), dwelling in caves or remote private homes away from
sundry noises and other disturbances
As regards the poet’s writing materials and other tools, Rajasekhara mentions that the writing materials
are almost always within the reach of the poet; and, are contained in a box. The contents of the box were
generally: a slate and chalk; a stand for brushes and ink-wells; dried palm leaves (tāḍipatrāṇi) or birch
bark (bhūrjatvaco); and an iron stylus (kaṇṭakāni). The common writing materials were palm leaves on
which letters were sketched with metal stylus. The alternate writing surface was the birch bark cut into
broad strips. The slate and chalk was for preparatory or draft work.

tasya sampuṭikā saphalakakhaṭikā, samudgakaḥ, salekhanīkamaṣībhājanāni tāḍipatrāṇi bhūrjatvaco vā,

salohakaṇṭakāni tāladalāni susabhmṛṣṭā bhittayaḥ, satatasannihitāḥ syuḥ /