Happily for us, a Kashmiri Brabmin "Ksemendra" by name has striven to wash off this stigma attached in general to Sanskrit poets and has tried his versatile pen on the people in general. This is not a mean achievement in the context of the standards and norms of poetry-writing prevalent at that time. Even the Rhetoricians had laid it down that the hero of a Mahakavya should be a god, saint or a man of exceptional attainments. To rise in revolt against such time-honoured conventions needs self-confidence of highest order. Ksemendra did not err in his duty towards his brethren and though being a rebel did initiate a very healthy trend in the sanskrit literary tradition. He made heroes and heroines of ordinary mortals in flesh and blood - the courtesan, the clerk, the miser and many others culled from ordinary life. He did not believe in portraying the ideal, at the same time not being averse to it. He in a most realistic manner could feel the ground underneath his feet. The throbs, sighs, sobs, joys and sorrow of the man in the street have been woven in dexterous verse pulsating with innate sincerity by him only to point out that the distance between the "ideal" and the "actual" needs to be bridged, and perfection being an adage only found in text books on morality, approximation to that ideal should guide us as to the inherent merit or otherwise of the people of whom he was one.

In an extant reference to Ksemendra found in Kalhana's Raja Tarangini, his talent as a poet has been praised but his acumen for historicity played down:

"Because of somewhat carelessness, not a single fraction of the Ksmendra's Nrpavali is free from blemishes, even though it is the work of a poet."

Kalhana having seen the "list of kings" could glean mistakes in it from the point of view of a chronicler, but unfortunately this book was lost to the posterity, hence no judgement whatsoever can be passed on it except relying on Kalhana who acknowledges Ksemendra's right tn be a poet. However, in the Colophon to the 'Samaya Matrika', Ksemendra has written that he finished that work during the reign of Ananta in the 25th year of the Laukika era. Again in "Suvratta - Tilakam" he reiterates that he wrote in the reign of king Ananta and finally in 'Dasavataracaritam' he says that he finished this assignment in the reign of Kalasha, son of Ananta, the year being 41 Saptarsi era. So it is abundantly clear that he did at least see the rule of two kings- Ananta and his son Kalasha. Again in his 'Bharatamanjari' he has alluded to his being the pupil of Abhinavagupta from whom he learnt Alamkara Shastras. The date of this shaiva philosopher and commentator - Abhinavagupta cannot be later than 1014 A.D. because he wrote his bigger commentary on the Pratyabhijna Darshana in 1014 A. D. At that time Ksemendra studied at his feet. So we can safely assume that Ksemendra must have been born at least 20 or 25 years before this date so as to develop his comprehension in receiving the tuition from Abhinavagupta. Hence his date of birth c n roughly be placed in the last quarter (towards its end) of the 10th century. His explicit mention of Ananta and his son Kalasha only might give some clue as to his death or retirement from creative literature. He does not mention any other king after Kalasha which proves that he was not destined to see the reign of the successor to Kalasha. The year in which he finished the "Dasavatarcaritam" has been given as 41 Saptarsi era which corresponds to 1066 A. D. After this date he either sought respite from literary pursuits or was cut short in life by death. He went to Tripuresha mountain for spending his old age there and probably breathed his last at the Ashrama he had built over there. King Kalasha reigned from A.D. 1073 - 1089 and it can fairly be assumed that Ksemendra cast off his corporal frame after A D. 1066 and not in any case later than A.D. 1089. Between these two limits his date of death can be cogently placed. This Tripuresha or Tripureshvara was held in great reverence in olden days as Kalhana alludes repeatedly to it for its sanctity. King Avantivarman also passed his last days on this Tirtha. Nilamata purana also mentions it as a place of piligrimage. This has been identified as 'Triphar' on route to Mahadeva shrine, some 4 miles from the headworks of the present 'Harvan' to the North-East A stream known as Tripuraganga is still visited by the piligrims going to Mahadeva which flows close to modern Triphar. Even though it has lost its fame now, yet Shrivara has mentioned about a 'Annasattra' started by king Zain-ul-Ab-Din (Bud Shah) at this Tirtha. This may be the permanent 'Langar' of those days started for feeding the needy and might prove that during the Muslim rule also it had retained its renown as a holy place.

Ksemendra unlike other Sanskrit poets does not feel shy of publicity. In the colophons of his various works he acquaints us fully with his lineage; piecing together all these facts given by the author himself, we can conveniently build his family tree. His grandfather's name was 'Sindhu' being the son of 'Narendra' a minister of Jayapida, grandson of Lalitaditya.

He was a very strong and benevolent king of Kashmir and was named Vinayaditya also especially on his coins. His father's name was Prakashendra. He seems to have been born in affluence as the family surname of 'Indra' most eloquently testifies to. His father was of very liberal disposition and made handsome gifts to Brahmins. He subscribed to Shaiva cult hence installed many Shiva lingas at Svayam near Nichihama in present Handwara Tehsil, and spent some 25 lakh rupees for endowment purposes. Like his father Ksemendra also built an Ashram at Triphar and retired there in his old age. His son was 'Somendra' and being talented like his versatile parent wrote an introduction to the "Avadana-Kalpalata".

Fortunately for us, the family tree of Ksmendra unmistakably illustrates that this family had preference for Sanskritic names and not local names, whose meaning at present cannot be made out like those of Kalhana, Bilhana and Mamatta, etc. "Khema" in Sanskrit means "eternal happiness"' and Indra means a "lord". So the name taken together means "Lord of eternal happiness, which he really was, as his compositions fully portray. He did not confine this happiness only to himself but dispensed it profusely among his fellow-countrymen by composing humorous skits and witty character sketches in "Deshopadesa" and "Narmamala". He lived perfectly up to his name.

His versatile genuis has flowered in many directions. Dr. Keith called him a polymath while Dr. Stein' has appended the epithet polymister with his name. This tribute goes a long way in establishing that he did not confine himself to a single form of literary expression but tried his pen over many other forms with equal force and effect. However, in all humility he calls himself 'Vyasadasa' the servant of Vyasa of Mahabharata fame. Knowledge has given him humility in every sense of the word. Even though like Vyasa he was a prolific writer, yet he refrains from equating himself with him; he does scale the virgin heights of literary expression, yet does not boast about this but ascribes it to the blessings of Vyasa whose slave he becomes willingly. The ego in him remains subdued as should be the case with every literary giant.

However, it is to be conceived rightly that though Ksemendra's father was a devout Shaiva and he himself received tuition from Abhinavagupta - a Shavitie stalwart - yet he got converted to Vaishnavism by the efforts of Somapada. It also seems that he had more respect for this Somabhagvata than even for Abhinavagupta. Moreover, he kept his mind open and studied Bhuddism also. Perhaps his awake intuition first of all thought of including Buddha among the ten incarnations of Vishnu. Some faint echoes of ridiculing Shaivism can also be gleaned from his compositions especially in 'Deshopadesha' and 'Naramamla'. But despite all his flirtations with Shaivism, Vaishnavism and Bhuddism, he was a firm believer in the religion of Shrutis (Vedas) and Smritis.

Before we proceed to discuss his literary acumen as a polymath, it seems pertinent to refer to a controversy raised by Prof Peterson regarding the identity of Kesemendra and by mistake confusing him with Kshemraja - the renowned commentator of Shaiva lore. However, on second thoughts he revised his earlier opinion, and in this way the dust raised by this confusion got settled. Perhaps this wrong inference is due to the fact that both these Kshemaraja and Ksemendra acclaim Abhinavagupta as their teacher. Ksemendra has provided a veritable hint as to his real identity as much as he prefixes the epithet "Vyasadasa" invariably with his name while Kshemaraja does not have any such appellation. The latter is silent about his pedigree but the former has written profusely about his lineage. Hence it can be easily understood that the two have had separate identity.

Broadly speaking Ksemendra's immense literary activities can be divided into four distinct traits:

a) As a condenser of very lengthy epic -literature and other religious Kavyas.
b) As a Historian.
c) As a satirist.
d) As a writer on Rhetorics, poetics and metres.

By epitomizing the Brhatkatha written originally in paishachi, he did a great service to the literary tradition of Sanskrit literature. The original having been lost, but Ksemendra's translation into Sanskrit has served admirably to retrieve that irreparable damage, and so he is looked upon as the originator rather than the translator of this famous story-1iterature. Soma Deva Bhatta also prepared a second version of Brhat Katha in Sanskrit after him which proves that this kind of literature on the pattern of Arabian Nights had become very popular with the people.

Brhat Katha Manjari deals with amors and heroism of various kings especially the king Udyana. It has nineteen Lamabakas (cantos). The poetry employed is not of high order and in the words of Dr. Buhler may be called "verified prose". Ramayana Manjary and Mahabharata Manjari are obviously the shorter versions of Ramayana and Mahabharata - the epic literature of India respectively. In the latter a glaring omission is perceptible. He has altogether omitted the chapters 342-353 of the Shanti Parva. On a perusal of the Ramayana Manjari it is quite clear that he follows Valimiki in a most faithful way and has even alluded to minor incidents be it by a single phrase or a single sentence. So, how this striking omission can be explained? Perhaps in the eleventh century the Shantiparva did not form the part of Mahabharata and might have been interpolated subsequently.

One fact comes to surface while discussing the Manjari literature of Ksemendra. He retains the original name of the text he has chosen for being summarized and appends the word 'Manjari' to it. "Manjari" might mean a sprout, cluster of blossoms, a flower-bud or a creeper. In this way he has very intelligently suggested that his smaller edition is like a creeper to the original and imposing tree of Ramayana, Mahabharata etc. He has like a deft gardener prunned the extraneous and redundant foliage around these trees and carved out of these a cluster of blossoms, even though smaller in volume, but all the more prettier in appearance. As a translator of Brhat Katha, his translation from Paisachi into Sanskrit was definitely subservient to the contents of the original. He could not take any liberty with it; with such shortcomings even, Ksemendra's mastry over Sanskrit is unblesmished. So it is wrong to judge his poetic prowess from his "Manjari" literature. His independent works only can be the touch-stone to test his talents as a poet. We will come to this point later.

'Baudhavadana-kalpa-lata', is a collection of Jataka tales. On the authority of the poet's son "Somendra" Ksemendra composed only 107 Pallavas (chapters), to which his worthy son added one more, making it the auspicious number of 108. Unfortunately the first 40 Chapters of this compendium were lost but luckily were retrieved from its Tibetan translation, when Shakya - Shri a Kashmiri Pandit presented a copy of it to the Lama of Tibet in 1202 A.D. He got it translated into Tibetan some seventy years after i.e. 1272 A.D. Ksemendra also acknowledges the debt of one 'Virya Bhadra' an authority on Buddhistic texts who assisted him in composing this treatise.

"Dashavatarcharita" as the name suggests contains anecdotes regardjng various incarnations of Vishnu; though Ksemendra does display a rare kind of ingenuity in dealing with this religious topic, yet it cannot be termed to be his original work; first 9 cantos are definitely derived from Puranas. Novelty of conception is discerned in the 7th canto wherein "whole of the Ramayana is narrated with Ravana as the central figure". The result is quite happy and vividness of description adds to its charm. This novelty of conception is further more witnessed in his extolling Buddha as an incarnation of Vishnu. The inherent attitude of an Indian thinker believing in synthesis is seen at the work here. Herein the Hindu view of life assimilating all that is good from any source whatever, has come in handy to the poet. So, the rebel against Hinduism as such - the Buddha has been admitted to the fold of Hindu pantheon which proves not only the catholicity of Hindus but also their wakefulness.

When the symbol of revolt-Buddha was equated with Rama, Krishna etc. the edge of proselytisation started by his followers got blunted. The wind was taken out to their sails, not by force, not by persecution either, but by owning him. In this way Hindus got one more incarnation and propitiated him in the form he detested the most. His followers definitely stood to lose in the bargain while Hindus gained everything - their culture, their way of thinking remaining in tact. Imperceptible erosion took place in the other camp and consequently this very religion had to either get amalgamated in the Hindu fraternity, or live in self-exile.

As a historian no estimate of his can be built as his "Nrpavali" (the list of Kings) has been lost even though Kalhana did consult it for writing, his Tarangini. However, Kalhana has not been fair to him. He admires his acumen as a poet, but derides it as a historian. However, it is to be conceded that Kalhana while enumerating the sources of the historical data on which he built his cbronicle, does mention his "list of kings" which must have commanded some respect in his time, and to justify the writing of his "Tarangini" pointed to the defects in the former "Nrpavali". In this connection it is to be remembered that even though Ksemendra undertook to write the "list of kings" but his heart definitely lay with the underdog. So he treated it in a slip- shod manner. In course of time, Nature respecting his conviction, consigned the book to some forgotten corner, hence was lost. His innate progressive outlook would have compiled a "Janavali". The "List of people" instead of "The list of kings". Perhaps to atone for this omission he wrote a number of books which do definitely come under the caption "Janavali". Royal patronage he did not want as he was sufficiently affluent himself, so could not bring himself to cater to the moonish caprices of kings.

Kalavilasa may be considered the best work from the fertile pen of Ksemendra. This book consists of ten cantos and in the very first canto "Muladeva" the arch cheat is introduced and the rest of the book is devoted to the tips given by him to his pupil Chandragupta the caravan leader's son. Each canto deals with vanity, greed description of courtesans, the character of the clerk, arrogance the description of Music, description of various cheats, and lastly exposition of all the arts. As is clear from the titles of cantos, the poet does not refrain from exposing the weakness inherent in the society at that time. The cheats, courtesans, Kayasthas and goldsmiths epitomizing the deceit in themselves corrupt the society with the aid of vanity, greed and arrogance. His play on the word ('mud') arrogance which was spelt as ('dum') restraint in the Krta - age deserves mention. In Kali - age the sequence of syllables has changed places 'dum' becoming 'mud'.

Moreover, useful information about the currency in vogue at that time is also given in this book. While describing the character of miserly trader he calls him a a thief in broad day light. Having plundered the customers by guile or flattery during the day, he very reluctantly parts with three cowries for house-hold expenses. It seems clear that the cowries were in use as a medium of currency in his time - and that also of the lowest denomination. He calls cowries as a (Shvetika) being of white colour also. Narrating the novel deceptive ways of gold smiths who have faulty balances for weighing gold and possess sixty four arts of cheating the people, he alludes to their birth, and says that they were previously nibbling at the Meru mountain as mice and cursed by gods for this insolence were born as goldsmiths on this globe.

The title of this composition means the charm or pastime of arts- the art of deception, cheating, enticing, seduction, and robbery etc.

About the depraved woman, he has this castigation:

"Eluding her own husband like a fawn, tasting the hospitality of another tree (not her own husband's), by nature a low-born vamp, displays false coquetry, crooked she-serpent, can be faithful to none".

In the same vein the prostitute is condemned as

"In this way, having many hearts, many tongues, many hands, and many tricks of seduction, in reality without truthfulness; no body can know the prostitute in essence."

About the innocence of men he has this satirical compliment:

"The astrologer calculating in the sky as to when the moon will enter its sixteenth mansion, does not know anything about his wife who is attached to the amors of various serpents (bad charactered men)."

The Kayastha (the scribes clerk) who held very important post in old Kashmir and like a 1eech drank the blood of people has not escaped his chastisement.

"The handwriting (of Kayastha) is crooked, (fradulent, so that the actual entries made into his books are not deciphered) looking like the snares of the death-god. The Kayasthas sit on the file of the birch bark (files) like serpents in a charmed circle (drawn by a conjurer)."

Samayamatrika may be also called the finest composition from the versatile pen of Ksemendra. Herein the poet lays bare the seductive amors of prostitutes and their enticing acumen. In the colophon to this book the poet calls it ('subhashitam') by which its didatic import is suggested. The caption of the book a compound consisting of ('Samaya') time and ('Matrika') mother, when taken together, may mean the "mother of the time" in that age. It was not the chaste or the virtuous lady but the ensnaring vamp - the prostitute who ruled over the hearts of men. The times were not in any way flatteringly punctuated with piety but besmeared with sinful conquetries of the prostitutes; by bringing them to the fore and also alluding to their ghastly end, the poet does reform the society. Some critics have found Ksemendra guilty of low-taste, vulgarity and only narrating the bad points in the society. However it is to be remembered in this context that Ksemendra in the first instance does not claim to be a religious preacher. He writes what he actually sees and feels. If the society was rampant with vulgarity, low taste and other evils, how could the poet be blind to these? The degradation in the society could not have remained hidden even if Ksemendra had tried to make the use of "idealistic" rather than the "realistic" approach to life. The filth and the mud in the society would after all raise its head had Kesmendra covered it with the sweet smelling roses of his imagination even. By screening these from public view would have all the more multiplied their intensity, hence by portraying these, the society at large hanging its head in shame, could have thought of reform in right earnest. Hence the poet's intention is to reform and in no way to present the deformation of society. Hence the use of the ('subhashitam') at the end of book is quite justified. Negatively if the darkness is explained in full detail, the positive reaction to it would be light, more light. As the title of the book suggests, it is a compound of 'Times' and 'Matrika' (mother) object of respect. In a sarcastic manner the author wants to convey that the harlot is the "mother of the times" or more respected and sought after individuals in the society, while actually the Matrikas should have been propitiated. The moral and mental fibre of the people at that time was so base that instead of engaging themselves in "Matrika Pujananam" they wasted time and money in enjoying prostitutes. Hence in the very beginning of this treatise, Ksemendra very rightly says:

Moreover, towards the end of this composition Ksemendra himself justifies the title by saying:

"In course of time (by the curse of the time) that (Kankali) - the mother was transformed into an artificial beauty by Kalavati, associating this treatise with her name, I, Ksemendra has arranged it (into cantos)". This book also furnishes geographical data about the old salt route (salt has been always imported into the Valley) and a hospice named 'Panchala-Dhara-Matha' on it. Later on this very route and hospice were rennovated by the Mughals connecting the Valley with the plains via Pira-Panchal range. This book of verses is divided into eight cantos (Samayas). Herein the initiation of one 'Kankali' into the hierarchy of prostitutes and her various sojourns have been described. The agent for introducing her to a senior-in-trade grown up lady- hence unmarketable is naturally the hair-dresser- among men the barber (hair-dresser) is the most wicked.

Charucharya is actually a century of verses in Aaushtubha metre. According to the author the main purpose of writing it is to teach law and polity by way of a moral couched in the first line of the verse and followed by an illustration in the second. The illustrations are mainly drawn from epics and Puranas.

'Deshopdesha' contains updeshas (advice) in eight cantos regarding his innate feelings about the customs and notorious characters in the society. In the opening verses of this book the author craves for the indulgence of the readers in not construing any other meaning into his use of biting sarcasm, but only to bear with him, because he would like to reform the society through this medium:

"Being ashamed very much and not goaded by the defects (in the society), it is my attempt to reform the people through mirthful laughter."

The characters he has chosen for his chastisement are the the villain, the miser, harlot, the bawd, the sexy rogue; the Gouda students having come to Kashmir for receiving tuition and the old man's marriage etc.

The harlot epitomizes in his words: -

"In her speech honeyed-sweetness, in her heart the blade of a razor, the prostitute is like a sharp edge of an axe ready to cut at the roots of her paramours."

Even though being at the right side of sixties, she polishes her face with beauty - aids like a girl in teens, verily at the commencement of the iron age, she must have taken nectar along with crows.

About the foreign students especially from Gauda Pradesha (Bengal), he has this left-handed compliment:

"He demands more vendibles, but gives very little as the price, so the vendor in the morning stands before him like a local Kali (to recover the balance). "

Presumably the student given to vile practices could not be coaxed into paying the actual price being under the influence of liquor on the preceding night. He would have cooked up a brawl and even wounded the vendor with his knife.

Moreover, the psychology of a miser has been graphically woven by him in these words:

"The miser seeing a relation of his having come to his house of his own will, under the excuse of an altercation with his wife vows not to take anything."

When the host is observing a fast, more so under protest, how could the guest expect hospitality there. So, he takes up to his heels and in this way, the miser gets rid of him. Furthermore, Ksemendra tries to philosophise on his over-all behaviour :

"The dry-as-dust miser's words can never be sweet. How can be loveliness on his face when there is no salt even in his house-hold." Herein, the poet has played on the word 'salt' which in its abstract form may mean beauty also.

In this way, he has not spared any such despised character in society.

The Kashmiri Bhatta (Pandit as known now) having fallen from his high pedestal and addicted to vice has been painted by him as

"The initiated Bhatta (Kashmiri Brahmin) bent upon taking liquor, being addicted to Vamachara by which the pride of his own clan has been set at naught, with a plate of fish in his hand, approaches the house of his teacher (for reading scriptures)."

This description of a Bhatta very lucidly brings home to our mind the levity obtaining in the highest caste at that time. Having forsaken the right path of worship and taking to Vamachara, he has to observe the 'panchamkaar' (five MS) rule, and is so bashless that he does not care two hoots for the prestige of the community to which he belongs.

The old man's infatuation for a young girl has been very aptly summed up by the author as follows :

"The old man begs for a virgin (in marriage) like a miser for wealth." The undertone in this simile is purposely condensed by the author by comparing the lust for a virgin of a dotard with the lust for money by the miser - who will never use it but simply keep it imprisoned in his coffers, only to feed his eyes upon.

'Narma-Mala' or a garland of humour and wit is actually a complement to the 'Deshopdesha.' It is divided into three Parihasas (Jokes). The main target in these is the Kayastha- clerk- who is painted most black. He revelles in dismantling temples, teasing Brahmins, and encouraging bribery. His life full of vice lands him into the prison ultimately, and all his ill-gotten riches and property are confiscated. His end is most tragic.

The "Then" and "Now" of the Kasyastha has been very wittily condensed in the following verse:

"(In former days) his wife used to drink the begged scum in a broken and second-hand stone bowl. She now takes the musk-scented wine in silver goblets.

Under the fourth head, Ksemendra as a rhetorician and writer on poetics and metrics composed Kavi Kanthabharana (The necklace of a poet) and Auchitya Vicharaeharcha (an account of propriety ) and Suvratta tilakam ( the crest of good metres ) deserves special mention. As the titles of these compositions reveal, the first is a short treatise on the making of a poet for which divine as well as human effort is necessary. The second declares the "propriety' as the soul of poetry. The age-long predominance of Rasa (sentiments) has been subordinated by him to Auchitya (propriety). The third obviously is a work on metres. Twenty four metres are described, discussed and illustrated by him in all.

Besides these, a host of books on other subjects has been ascribed to Ksemendra. Late Pt. Madhusudan Kaul Shastri enumerates as many as thirty one compositions from his versatile pen.

However, to build his towering image as a peoples' poet, only such uncontroversial treatises as have been classified under different heads earlier, are sufficient.

Without mincing words, it would be expedient to judge him as a poet first and afterwards the subject he chose as a vehicle for his poetic talent will merit discussion. The most accepted definition of poetry from Eastern point of view is by Kavi Raja Vishwanatha when he says that even a single sentence containing Rasa (flavour or sentiment of relish) may be called poetry. Further to pin-point the importance of Rasa he defines it as which tinkles or which is relished is called Rasa. With other constituents such as 'embellishments', 'qualities', etc, Rasa is acknowledged by one and all as the soul of poetry. Herein obviously the emphasis is on the content of poetry.

Ksemendra himself defines poetry as containing "Auchitya" propriety. According to him propriety has been defined as :

"An embellishment is a real embellishment when applied at the proper place, and Gunas (merits) are actually merits when they up-bold the norms of propriety. So it is clear that Ksemendra does not subscribe to Rasa theory of poetry and makes bold to give his own definition. He actually makes the poetry purposeful. Furthermore in a poetic composition when different Rasas (sentiments) are intermixed propriety alone can preserve their flavour, if this kind of discretion is not employed, then the composition would only be a counterfeit mixture of sentiments. The author lays emphasis on the existence of propriety in each word, sentence, figures of speech, verbs, syntax, gender, number, adjective, tense and even on other outer limbs of poetry (Kavyangas) i.e. environment, time, intuition, thought and nomenclature.

Therefore the difference between the Rasa school and the definition of poetry given by Ksemendra is that the former is subjective in essence and the latter is objective in comprehension. The Advocates of Rasa did definitely include propriety in merits and impropriety with blemishes.

But Ksemendra like a realist does mark the frontiers between the two, because his judgment is objective. Before testing his merit as a poet by his own standards or by Eastern norms of criticism, it will be feasible to define poetry and also the making of a poet from western point of view also.

Wordsworth defines poetry "nothing less than the most perfect speech of man, that in which he comes nearest to being able to utter the truth." Herein this celebrated poet under-lines the truth which should deserve to be the subject of poetry. Another famous poet Shelley while defining poetry in a general way takes it to be the expression of imagination. Coleridge makes it as anti-thesis of science having for its immediate object pleasure not truth. Herein the emphasis is laid on the pleasure which should flow from a poetic composition. Thomas Carlyle declares poetry to be "musical thought". This definition is perhaps in consonance with that given by Dr. Johnson when he says that "poetry is metrical composition." Both these definitions pertain to the form of poetry-other than prose. Edgar Allan Poe also echoes the same feeling when according to him poetry is "the rhythmic creation of beauty."

W. H. Hudson sees poetry "as an interpretation of life through imagination and feeling."

However, from the perusal of all these definitions it is clear that poetry as such is a metrical composition pulsating with imagination and feeling its goal being to interpret the truth or to provide pleasure. In this way the form of poetry being musical and metrical and its content either the truth or the pleasure, have been properly and proportionately located. By comparing this definition with that of the Indian critics it is patent that these are in line with the protagonists of 'Rasa' theory which definitely tinkles the emotions. With regard to Ksemendra we have to note the didactic import in his poetry which he proclaims from the house-top. Therefore, the question arises whether a poet can be a moral teacher. He has to translate his feelings and emotions faithfully as they ooze forth in his heart and to preach morality through this medium is justified or not. To this knotty problem Sir Philip Sidney provides a cogent answer. In his "Defence of poetry" he says that a poet is a 'maker'; the Indian counter-part being 'Srishta' having the same meaning. So, it can be safely inferred that the poet does not express what already exists, but he invents - precisely the 'ideal' for the imitation of the reader in general. He (Sidney) further contends that the world created by the poet is surely better than what exists reality. In the same way fiction sounds truer than the fact. The contention of Sir Sydney to put squarely is, that poet is actually a moral teacher, but Ksemendra while admitting this in toto, does not believe in his painting the ideal and thereby reform the 'actual'. He would like to proceed from the 'actual' like a revolutionary and would like the reader to assess for himself 'what should have been' from 'what it is.' What he preaches on Morality is simply suggestive and not direct. Perhaps his approach is more realistic than Sir Sidney who would like us to go to the 'Real' via 'ideal'. Ksemendra believes in treating the 'Real' with its imperfections, and all the time beckoning us in undertones, and not directly, to have an eye on the 'perfect ideal'. "What should not be" can be very efficiently emphasized by "what actually is."

His conviction about the function of propriety in poetry comes to his succour in this dilemma. Propriety according to him is nothing but a real representation of life as it obtains. Had he painted it otherwise, it would have amounted to impropriety. Hence his candid portrayal of society is an illustration of propriety in its all shades of meaning. He would not like to pass on a counterfeit society for a genuine one. He believes in calling spade a spade and not confusing dross with gold. While discussing the attributes of a poet, Ksemendra in his 'Kavi Kanthabharna' has unambiguously laid down that a poet-in-the making should not seek the guidance of a logician or a grammarian because they hinder the flowering of good poetry. He is alive to the fact that good poetry should in no case get fettered in grammatical technicalities or the mental drill of logicians. It should flow like an uninterrupted stream. Moreover, he even goes to the extent of saying that a poet - in-the making "should neither go a - begging nor stoop to vulgarity in his narratives". His imaginative faculty should not be wanting in anything and should not fall below the established norms of good-taste. So, it is clear that Ksemendra as a teacher on poetry and also as a poet does strike a happy mean between the precept and the practice; for this he has chosen the vehicle of satire.

A satire has been defined as a piece of writing which ridicules the follies and wickedness of mankind, of a class of people or of an individual. As has been made clear in the preceding pages his emphasis is on the individual - different units of society who are a veritable cancer for its healthy growth. Hence his chastiment pulsating with sarcasm and irony does not border on vulgarity. It is a faithful representation of life. It can safely be asserted that his poetry is not a revolt against life in any sense of the word. The moral standards as should have been existent in the society - which actually are not there - form the dirge of his poetical compositions. Like Mathew Arnold he believes that 'poetry is at bottom a criticism of life.' Morality and ethical values do form an inextricable woof and warp of the texture of society, hence the poetry of revolt would be revolt against life itself. So, he does not revolt against it, but lays it bare with pungent sarcasm and seemingly 'Mirthful laughter', only to relieve its grim effect on his readers.

In the same way Ksemendra's poetry cannot be a accused of being- the poetry of paradox. In a paradox the self-contradictory or absurd element is somewhat more pronounced than the truth it contains; our poet does not believe in the 'paradoxical' approach to poetry, but in its stead, prefers the direct approach which is easier to comprehend. He does not want us to solve riddles or puzzles.

Hence it is clear that his 'satire' does not subscribe either to 'revolt' or to 'paradox', in their stead, he transfers his innate feelings to the reader without any pretensions whatsoever.

It has been contended that satire is best suited to prose. In it the appeal is made to reason, judgement, "it cannot be heightened by being garnished with an appeal to emotion''. However, our poet has employed the more difficult medium of poetry, hence his task to produce the desired effect is more arduous tban those of the prose-writers in this field. Perhaps for this very reason some critics bave called his poetry as versified prose. As has been shown earlier, this is sheer injustice to our poet. Like a true satirist he has to subjugate his emotions to the compelling reality around him. The wings of his imagination do get clipped consequently, so his poetry may not touch the high water-mark of Kalidasa - who has no such shortcomings and his emotions are free to take any direction whatsoever. Even then Ksemendra has yoked his poetic prowess admirably well to the exposition of the real by contrasting it with the ideal. For a satirist the method of contrast is indispensable. He may feel piqued at times wilh the gulf between the real and his dreams, yet his anger has to be screened under a mask of 'Mirthful-laughter' as Ksemendra would say himself. The satirist has to don the mantle of a moralist though he may not like it. His insistent beckoning to ideal - appealing to the sense of right and wrong - unconsciously bestows on him the status of a moral teacher. He cannot escape from it. Hence, in his poetry the aesthetic content is naturally subservient to the moral one. Even having such discomfitures for the full flight of his imagination, Ksemendra has tried his hardest to introduce aesthetic pleasure into it according to his own norms of propriety, as discussed earlier. His satire does show the poet in him. His compositions are even now relished with the gusto of a lyric vibrating with emotions and have never been treated as codes on Morality. Perhaps this popular reaction to his satire is a sufficient compliment to his genius as a poet of no mean order.

The very first verse of samaya Matrika introduces him as a poet by his own right :

"He who has conquered three worlds by his exciting, stormy, yet formless weapons; I salute him the flower-bowed cupid, for his surpassingly wonderful prowess'.

Whenever his imaginative faculty is not under the curbing thumb of content, or is free to take strides at his own will, he definitely touches the high water mark of poetic fancy. The poet in him remains subdued not that he lacks proper imagination, by the compelling nature of the subject he has chosen, and the vehicle of shloka metre which cannot admit of any elaborate treatment because of its comparative shorter span. His vocabulary is so rich that he looks like a living Dictinary; hence he could readily and easily weave a particular situation or feeling out of the inexhaustible fund of words at his command. Words flow from his pen spontaneously and at times he does not feel diffident to use the local Kashmiri words also, perhaps to give his compositions a native colouring and flavour: "The flute-player has the Veena and the "tumbak" on his shoulders".

To make its Kashmiri usage more emphatic, he also uses the word 'Nara' with it. In this context many such Kashmiri words even the idioms can be gleaned from his works e.g. 'Tala' in the sense of Sanskrit 'palater', Gharaghara, representing the roaring sound of clouds in Kashmiri. Not only this but even the Kashmiri colloquial taunts and abuses have also been reproduced by him faithfully in sanskrit.

To crown all? his similes and other, figures of speech are not only apt but also homely. He does not believe in ethereal poetic fancy but has emply drawn from daily life. His personal experience and observation make his diction all the more realistic. His delineation of nature:

"The starry night keeping vigil having become disgusted with the fatigue caused by its sporting with the white rays (off the moon), gradually gets emaciated, being anointed with the morning dew, as if with perspiration."

Describing Moonlight the poet portrays a bewitching scene with its enthralling effect with the help of very simple words:

''The lord of the night (the moon) a white parasol of cupid, the unblurred mirror made of crystal for the lady of "space", the white Tilaka of the damsel of Night, shone resplendently.

While describing the beauty of the city (presumably Srinagar) he has to say :

(In that city) where the musical notes of the pretty swans is all the more made sweeter by their devouring flesh lotus-stalks, which (musical notes) getting diffused in the lotus-groves sound like the jingling of anklets of goddess Lakshmi.

About the content of Ksemendra's writings, we have made it amply clear that he chose the ordinary man or woman with his or her all weaknesses as his subject. The choice of such a subject was in itself revolutionary at that time when fixed norms were laid in this behalf by the Rhetoricians. Ksemendra not only rebelled against such hackneyed, standards but provided his own thesis for rhetorics and criticism in 'Auchityavicharacharcha' and ' Kavikanthabharna'. He showed the path to progressive trends in literature in those hoary times when dogmatic approach was the order of the day. Some ten centuries after him the humanily woke to the necessity of ushering in progressive outlook in literature, more especially after the Russian revolution of 1919. In a way Ksemendra combined in himself the charateristics of a prophet and a poet. He brought down the poetry from the ethereal heights to the matter of fact and real dimensions.

The style which he employs deserves some mention before we close this paper. Style is defined as a mode of expression and we shall have to examine as to how Ksemendra acquits himself in this field. We know already that he uses very simple words, avoids lengthy compounds and ambiguous epithets. His appeal is direct. He does not believe in traversing zigzag when shorter routes are available; with the use of simple straight and chiselled words he produces the maximum effect. This is his immortal contribution to Sanskrit literature. He lives to the maxim propounded by Coleridge "best words in best order" by any standards whatsoever. Moreover, the mode of expression he employs has his own indelible imprint on it. Regarding this trait in style J. Middleton Murray has observed "A style must be individual because it is the expression of an individual mode of feeling." Some sixty years after him another Kashmiri Soma Deva Bhatta also tried his pen on epitomizing Brhatkhatha; it can easily be understood from the comparison of the two that Ksemendra has his own style which could not be imitated by Soma Deva. His own Kashmiri Retotician Vamana, a protaganist of Riti School has said:

"Riti is a special arrangement of words; Riti is the soul of literature."

Ksemendra's writings do possess the "special arrangements of words", he does not waste a single word, but knows fully well "that these are two edged tools, if not used well, these can bite" as very aptly said by Anthony Trollope. Ksemendera's mastry over the language is perfect. He very prudentially uses a particular word to project a certian context and meaning. His selection of words is superb. T.S.;= Elliot has said "The poet has not a "personality" to express but a particular medium", which obviously connotes style. Ksemendra's style is neither artificial nor wanting in anything. It is to quote wordsworth - "Man speaking to man?" and to make this definition more representative, Ksemendra added the words "about the man" to it.

These words represent Ksemendra in all his shades. In his prolific writings he performs the mental surgery of the Man, locates the disease and points towards its eradication. He with child-like innocence and simplicity employs the most direct language only to talk to man like a man, because his aim is to beckon to him :

"Alas, seeing always the deer in the trap in the jungle, even then the deerlings get into the crooked snares."