Rajasekhar
Rajasekhara (till Vikrama 930- 977) was a wise man of poetry. He was the teacher and minister of Gurujarvanshya Naresh Mahendrapal of Kanyakubud and his son Mahindra Pal. His ancestors were well known Pandits and literary personalities. Kavyavimamansa is his famous composition. Kuntak and Rajshekhar in the entire Sanskrit literature are two such teachers who are not as important in the psyche of the traditional Sanskrit scholars as are racist or rhetorical or voiceless. Rajashekhar says his point off the leak and Kuntak is the teacher who has the courage to walk in the opposite direction. Biography
Rajashekhar was a native of Maharashtra and was born in Yayawara dynasty (Kshatriyas), but his life was spent in Bengal. His mother's name was Shilavati and the father's name was dhikika or malignant and he was a great saint. His father's name was 'Maharashtra Chudamamani'. Rajashekhar's wife Chauhan Kulkarni was a devout woman, whose name was Avantisundari. With Mahendrapal's Upadhyay being, he was also blessed with his son Mahipal. Inscriptions of these two kings are obtained from the first phase of the tenth century (9 00 AD and 9 17 AD), hence the time of Rajashekhar is almost valid for 880-920 AD. Compositions
Rajashekhar had composed the following texts:
A treatise called 'Ritinarnay' is mentioned by their name, but it is unrecoverable.
Rajasekhara's poetic poetry is not written about a subject, but it is an important and useful compilation of poetry and poet's overall pragmatic disciplines by its new talent style. The first authorship of this book is available, which contains 18 chapters. Its name is 'poet secret' which in fact reveals the secret of the poet. Gradation of Poets in it; The order of the seating of the poets, the costumes etc. is described so the main subject in this is the teaching of poetry. Regarding the trend, instincts and rituals by making an interesting narrative, Rajasekhara's statement is that during his exploration of poetry, his beloved brother-in-law used to wear extravagant costumes, bizarre luxury and innovative new conversations in different regions of the country. Thus the tendency of prostitution; Rajashekhar has given the factual name of various poets in the name of different states, at the discretion of the various literary properties and poetic beauty of different regions of India, according to the nature of the scheme.
Rajasekhar has called himself a kaviraj and has given him the place of the poets in the 10 categories of poetry above Mahakavi. Rajasekhar has expressed his tradition of Valmiki, Bharatmesh and Bhavbhuti. Rajashekhar has considered Vedrishi, Gaudi and Panchali as the three customs, while considering the four main tendencies of the state special. It is clear from poetry that it is a great fault for the poet not to inspect the subtle nature of the Rajasekhara. In Kavyavimamansa, the beautiful form of the Desert division seems to have been done in terms of the incarnation of this trend in poetry. Rajashekhar has also used the word 'kavishyam' as the first use of the word and has also indicated this in its definition. Many later rhetoricians have followed Kaviraj Rajashekhar, among which are Kameshwar, Bhojraj, Hemchandra, Vagbhatt, Keshav Mishra, Ajijen, Deveshwar etc. are remarkable. The Khmer language has praised Rajashekhar's versatile verses in his epic, and has also mentioned this in the rhetoric.
'Bal Bharat' or 'Prahalpandav' and 'Bal Ramayana' are the dramas based on the story of Ramayana and Mahabharat respectively. These dramas have probably not been 'Balanas Sukhbodhaayaya' and have been the early works of Rajeshwar. The love story in 'Kripuramjari' Satk is affiliated. 'Vidyashalabhanjika' is also a mythology. Curparamjari and kavyamimansa are the compositions of an adult period.
Adiwaki Valmiki, the poet says sadly, while accepting the power of his generation, Bharatmrishtha and Bhavabhuti - Squirrels Valmikivam: Archaeological evidence: Prapeda Bhuvita Bharatmarmatamam. Located: Rev. Rajasekhara: Regular Bhavabhuta. -Balharabharat, 1.13
wiki