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	<title>Vishwanath Kaviraj - Revision history</title>
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	<updated>2026-06-05T01:10:29Z</updated>
	<subtitle>Revision history for this page on the wiki</subtitle>
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	<entry>
		<id>https://en.banglapedia.org/index.php?title=Vishwanath_Kaviraj&amp;diff=11616&amp;oldid=prev</id>
		<title>Mukbil at 17:33, 3 July 2021</title>
		<link rel="alternate" type="text/html" href="https://en.banglapedia.org/index.php?title=Vishwanath_Kaviraj&amp;diff=11616&amp;oldid=prev"/>
		<updated>2021-07-03T17:33:18Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 17:33, 3 July 2021&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l1&quot;&gt;Line 1:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 1:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&#039;&#039;&#039;Vishwanath Kaviraj&#039;&#039;&#039; (14th century) was a Sanskrit rhetorician and poet. His father, Chandra Shekhar, was also a [[sanskrit]] scholar, and his grandfather, Narayana, was the courtier of Narasingha, the king of Kalinga. Although there is controversy over his origins, he was, according to some scholars, a resident of Bengal. He is believed to have lived between 1300-1380. As far as Sanskrit poetics was concerned, he was a champion of quality and wit. The simple but universal definition of poetical work, &#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;v&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;kyang ras&#039;&#039;&#039;&#039;a&lt;/del&gt;&#039;&#039;&#039;&#039;tmakang &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;k&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;vyam&lt;/del&gt;&#039;&#039; (sentences full of sentiments are poetical works), was propounded by him in his noted volume on rhetoric &#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;S&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;hityadurpu&#039;&#039;&#039;&#039;n&lt;/del&gt;&#039;&#039; (Literary mirror).&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&#039;&#039;&#039;Vishwanath Kaviraj&#039;&#039;&#039; (14th century) was a Sanskrit rhetorician and poet. His father, Chandra Shekhar, was also a [[&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Sanskrit|&lt;/ins&gt;sanskrit]] scholar, and his grandfather, Narayana, was the courtier of Narasingha, the king of Kalinga. Although there is controversy over his origins, he was, according to some scholars, a resident of Bengal. He is believed to have lived between 1300-1380. As far as Sanskrit poetics was concerned, he was a champion of quality and wit. The simple but universal definition of poetical work, &#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;vakyang rasa&lt;/ins&gt;&#039;&#039; &#039;&#039;tmakang &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;kavyam&lt;/ins&gt;&#039;&#039; (sentences full of sentiments are poetical works), was propounded by him in his noted volume on rhetoric &#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Sahityadurpun&lt;/ins&gt;&#039;&#039; (Literary mirror).&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br/&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br/&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&#039;&#039;Sahityadurpun&#039;&#039; deals with all the branches of rhetoric, including dramatics. The book is most-read and discussed volume on rhetoric in eastern India and continues to be a textbook in the Sanskrit curriculum of in colleges and universities in West Bengal and Bangladesh. It is also considered to be the definitive study of &#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;k&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;vya&lt;/del&gt;&#039;&#039; (poetical works). Divided into ten chapters, the book touches on different aspects of poetics such as &#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;k&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;vyasvar&#039;&#039;&#039;&#039;u&#039;&#039;&#039;&#039;pa&lt;/del&gt;&#039;&#039; (characteristics of poetical works), &#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;v&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;kyasvar&#039;&#039;&#039;&#039;u&#039;&#039;&#039;&#039;pa&lt;/del&gt;&#039;&#039; (characteristics of sentence), &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&lt;/del&gt;rasa&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039; &lt;/del&gt;(wit and sentiments), &#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;k&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;vyabheda&lt;/del&gt;&#039;&#039; (types of poetical works), &#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;vya&#039;&#039;&#039;&#039;v&#039;&#039;&#039;&#039;jan&#039;&#039;&#039;&#039;a&lt;/del&gt;&#039;&#039; (manifestation), &#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;d&#039;&#039;&#039;&#039;r&#039;&#039;&#039;&#039;shya&lt;/del&gt;&#039;&#039; and &#039;&#039;shravya kavyas&#039;&#039; (visual and auditory poetical works), &#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;k&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;vyado&#039;&#039;&#039;&#039;s&#039;&#039;&#039;&#039;a &lt;/del&gt;&#039;&#039;(poetic flaws), &#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;gu&lt;/del&gt;&#039;&#039;&#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;n&lt;/del&gt;&#039;&#039;&#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;a&lt;/del&gt;&#039;&#039; (&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;qualities&lt;/del&gt;)&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;, &lt;/del&gt;&#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;r&lt;/del&gt;&#039;&#039;&#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;i&lt;/del&gt;&#039;&#039;&#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;ti&lt;/del&gt;&#039;&#039; (&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;style&lt;/del&gt;) &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;and &lt;/del&gt;&#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;ala&lt;/del&gt;&#039;&#039;&#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;b&lt;/del&gt;&#039;&#039;&#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;gk&lt;/del&gt;&#039;&#039;&#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;a&lt;/del&gt;&#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;ra&#039;&#039; (rhetoric)&lt;/del&gt;.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&#039;&#039;Sahityadurpun&#039;&#039; deals with all the branches of rhetoric, including dramatics. The book is most-read and discussed volume on rhetoric in eastern India and continues to be a textbook in the Sanskrit curriculum of in colleges and universities in West Bengal and Bangladesh. It is also considered to be the definitive study of &#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;kavya&lt;/ins&gt;&#039;&#039; (poetical works). Divided into ten chapters, the book touches on different aspects of poetics such as &#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;kavyasvarupa&lt;/ins&gt;&#039;&#039; (characteristics of poetical works), &#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;vakyasvarupa&lt;/ins&gt;&#039;&#039; (characteristics of sentence), rasa (wit and sentiments), &#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;kavyabheda&lt;/ins&gt;&#039;&#039; (types of poetical works), &#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;vyavjana&lt;/ins&gt;&#039;&#039; (manifestation), &#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;drshya&lt;/ins&gt;&#039;&#039; and &#039;&#039;shravya kavyas&#039;&#039; (visual and auditory poetical works), &#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;kavyadosa&lt;/ins&gt;&#039;&#039; (poetic flaws), &#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;guna&lt;/ins&gt;&#039;&#039; &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(qualities), &lt;/ins&gt;&#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;riti&lt;/ins&gt;&#039;&#039; &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(style) and &lt;/ins&gt;&#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;alabgkara&lt;/ins&gt;&#039;&#039; (&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;rhetoric&lt;/ins&gt;)&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Vishwanath authored some plays in verse as well. Notable among them are &lt;/ins&gt;&#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Kuvalayashvcharita&lt;/ins&gt;&#039;&#039; &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(Prakrit poetical work), &lt;/ins&gt;&#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Raghavavilasa&lt;/ins&gt;&#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;, &lt;/ins&gt;&#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Chandrakala&lt;/ins&gt;&#039;&#039; (&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;a short play&lt;/ins&gt;)&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;, &lt;/ins&gt;&#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Prabhavatiparinaya&lt;/ins&gt;&#039;&#039; &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(a short play), &lt;/ins&gt;&#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Prashastiratnavali&lt;/ins&gt;&#039;&#039; &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(Praises), etc. He earned the title &lt;/ins&gt;&#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;kaviraj&lt;/ins&gt;&#039;&#039; &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(king of poets) from the &lt;/ins&gt;&#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Utkal&lt;/ins&gt;&#039;&#039; &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;royal court for his poetic genius and erudition&lt;/ins&gt;. &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt; [Monoranjan Ghosh]&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br/&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br/&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Vishwanath authored some plays in verse as well. Notable among them are &#039;&#039;Kuval&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;yashvcharita&#039;&#039; (Prakrit poetical work), &#039;&#039;R&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;ghavavil&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;sa&#039;&#039;, &#039;&#039;Chandrakal&#039;&#039;&#039;&#039;a&#039;&#039; (a short play), &#039;&#039;Prabh&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;vat&#039;&#039;&#039;&#039;i&#039;&#039;&#039;&#039;pari&#039;&#039;&#039;&#039;n&#039;&#039;&#039;&#039;aya&#039;&#039; (a short play), &#039;&#039;Prashastiratn&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;val&#039;&#039;&#039;&#039;i&#039;&#039; (Praises), etc. He earned the title &#039;&#039;kavir&#039;&#039;&#039;&#039;a&#039;&#039;&#039;&#039;j&#039;&#039; (king of poets) from the Utkal royal court for his poetic genius and erudition. [Monoranjan Ghosh] [Ghosh, Monoranjan  Researcher (Sanskrit), Dhaka]&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br/&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br/&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;[[bn:বিশ্বনাথ কবিরাজ]]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;[[bn:বিশ্বনাথ কবিরাজ]]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Mukbil</name></author>
	</entry>
	<entry>
		<id>https://en.banglapedia.org/index.php?title=Vishwanath_Kaviraj&amp;diff=6496&amp;oldid=prev</id>
		<title>0:0:0:0:0:0:0:1: Content Updated.</title>
		<link rel="alternate" type="text/html" href="https://en.banglapedia.org/index.php?title=Vishwanath_Kaviraj&amp;diff=6496&amp;oldid=prev"/>
		<updated>2021-06-17T19:40:06Z</updated>

		<summary type="html">&lt;p&gt;Content Updated.&lt;/p&gt;
&lt;p&gt;&lt;b&gt;New page&lt;/b&gt;&lt;/p&gt;&lt;div&gt;&amp;#039;&amp;#039;&amp;#039;Vishwanath Kaviraj&amp;#039;&amp;#039;&amp;#039; (14th century) was a Sanskrit rhetorician and poet. His father, Chandra Shekhar, was also a [[sanskrit]] scholar, and his grandfather, Narayana, was the courtier of Narasingha, the king of Kalinga. Although there is controversy over his origins, he was, according to some scholars, a resident of Bengal. He is believed to have lived between 1300-1380. As far as Sanskrit poetics was concerned, he was a champion of quality and wit. The simple but universal definition of poetical work, &amp;#039;&amp;#039;v&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;kyang ras&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;tmakang k&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;vyam&amp;#039;&amp;#039; (sentences full of sentiments are poetical works), was propounded by him in his noted volume on rhetoric &amp;#039;&amp;#039;S&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;hityadurpu&amp;#039;&amp;#039;&amp;#039;&amp;#039;n&amp;#039;&amp;#039; (Literary mirror).&lt;br /&gt;
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&amp;#039;&amp;#039;Sahityadurpun&amp;#039;&amp;#039; deals with all the branches of rhetoric, including dramatics. The book is most-read and discussed volume on rhetoric in eastern India and continues to be a textbook in the Sanskrit curriculum of in colleges and universities in West Bengal and Bangladesh. It is also considered to be the definitive study of &amp;#039;&amp;#039;k&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;vya&amp;#039;&amp;#039; (poetical works). Divided into ten chapters, the book touches on different aspects of poetics such as &amp;#039;&amp;#039;k&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;vyasvar&amp;#039;&amp;#039;&amp;#039;&amp;#039;u&amp;#039;&amp;#039;&amp;#039;&amp;#039;pa&amp;#039;&amp;#039; (characteristics of poetical works), &amp;#039;&amp;#039;v&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;kyasvar&amp;#039;&amp;#039;&amp;#039;&amp;#039;u&amp;#039;&amp;#039;&amp;#039;&amp;#039;pa&amp;#039;&amp;#039; (characteristics of sentence), &amp;#039;&amp;#039;rasa&amp;#039;&amp;#039; (wit and sentiments), &amp;#039;&amp;#039;k&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;vyabheda&amp;#039;&amp;#039; (types of poetical works), &amp;#039;&amp;#039;vya&amp;#039;&amp;#039;&amp;#039;&amp;#039;v&amp;#039;&amp;#039;&amp;#039;&amp;#039;jan&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039; (manifestation), &amp;#039;&amp;#039;d&amp;#039;&amp;#039;&amp;#039;&amp;#039;r&amp;#039;&amp;#039;&amp;#039;&amp;#039;shya&amp;#039;&amp;#039; and &amp;#039;&amp;#039;shravya kavyas&amp;#039;&amp;#039; (visual and auditory poetical works), &amp;#039;&amp;#039;k&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;vyado&amp;#039;&amp;#039;&amp;#039;&amp;#039;s&amp;#039;&amp;#039;&amp;#039;&amp;#039;a &amp;#039;&amp;#039;(poetic flaws), &amp;#039;&amp;#039;gu&amp;#039;&amp;#039;&amp;#039;&amp;#039;n&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039; (qualities), &amp;#039;&amp;#039;r&amp;#039;&amp;#039;&amp;#039;&amp;#039;i&amp;#039;&amp;#039;&amp;#039;&amp;#039;ti&amp;#039;&amp;#039; (style) and &amp;#039;&amp;#039;ala&amp;#039;&amp;#039;&amp;#039;&amp;#039;b&amp;#039;&amp;#039;&amp;#039;&amp;#039;gk&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;ra&amp;#039;&amp;#039; (rhetoric).&lt;br /&gt;
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Vishwanath authored some plays in verse as well. Notable among them are &amp;#039;&amp;#039;Kuval&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;yashvcharita&amp;#039;&amp;#039; (Prakrit poetical work), &amp;#039;&amp;#039;R&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;ghavavil&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;sa&amp;#039;&amp;#039;, &amp;#039;&amp;#039;Chandrakal&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039; (a short play), &amp;#039;&amp;#039;Prabh&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;vat&amp;#039;&amp;#039;&amp;#039;&amp;#039;i&amp;#039;&amp;#039;&amp;#039;&amp;#039;pari&amp;#039;&amp;#039;&amp;#039;&amp;#039;n&amp;#039;&amp;#039;&amp;#039;&amp;#039;aya&amp;#039;&amp;#039; (a short play), &amp;#039;&amp;#039;Prashastiratn&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;val&amp;#039;&amp;#039;&amp;#039;&amp;#039;i&amp;#039;&amp;#039; (Praises), etc. He earned the title &amp;#039;&amp;#039;kavir&amp;#039;&amp;#039;&amp;#039;&amp;#039;a&amp;#039;&amp;#039;&amp;#039;&amp;#039;j&amp;#039;&amp;#039; (king of poets) from the Utkal royal court for his poetic genius and erudition. [Monoranjan Ghosh] [Ghosh, Monoranjan  Researcher (Sanskrit), Dhaka]&lt;br /&gt;
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[[bn:বিশ্বনাথ কবিরাজ]]&lt;/div&gt;</summary>
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