कवित्व शब्दसुमनमाळा । अर्थ परिमळ आगळा । तेणें संतषट्पदकुळा । आनंद होये ॥ १ ॥

Poetry is like a garland woven of word-flowers, whose fragrance is its meaning; it delights the saints, who are like bees drawn to that fragrance.

ऐसी माळा अंतःकरणीं । गुंफुन पूजा रामचरणीं । वोंकारतंत अखंडपणीं । खंडूं च नये ॥ २ ॥

Such a garland should be woven within the heart and offered at the feet of Rama; the thread of the eternal Omkar must never be allowed to break.

परोपकाराकारणें । कवित्व अगत्य करणें । तया कवित्वाचीं लक्षणें । बोलिजेती ॥ ३ ॥

Poetry should be composed above all for the good of others; the characteristics of such poetry will now be described.

जेणें घडे भगवद्भकक्ती । जेणें घडे विरक्ती । ऐसिया कत्वाची युक्ती । आधीं वाढवावी ॥ ४ ॥

One should first cultivate the art of poetry in such a way that it fosters devotion to God and gives rise to dispassion.

क्रियेवीण शब्दज्ञान । तया न मानिती सज्जन । म्हणौनी देव प्रसन्न । अनुतापें करावा ॥ ५ ॥

Mere verbal knowledge without corresponding conduct is not accepted by the wise; therefore one should win God's grace through heartfelt repentance.

देवाचेन प्रसन्नपणें । जें जें घडे बोलणें । तें तें अत्यंत श्लाघ्यवाणें । या नाव प्रासादिक ॥ ६ ॥

Whatever words flow from God's own grace are supremely praiseworthy; this is what is called "prasadik" — grace-born — poetry.

धीट पाठ प्रसादिक । ऐसें बोलती अनेक । तरी हा त्रिविध विवेक । बोलिजेल ॥ ७ ॥

Many speak of three kinds of poetry — "dhit" (bold), "path" (learned), and "prasadik" (grace-born); this threefold distinction will now be explained.

धीट म्हणिजे धीटपणें केलें । जें जें आपुल्या मनास आलें । बळेंचि कवित्व रचिलें । या नाव धीट बोलिजे ॥ ८ ॥

Whatever comes to mind, forced boldly into verse without restraint — such composition is called "dhit," bold poetry.

पाठ म्हणिजे पाठांतर । बहुत पाहिलें ग्रंथांतर । तयासरिखा उतार । आपणचि केला ॥ ९ ॥

"Path" means learned recitation — having read many other texts, one produces a composition modeled on them.

सीघ्रचि कवित्व जोडिलें । दृष्टि पडिलें तें चि वर्णिलें । भक्तिवांचून जें केलें । त्या नाव धीटपाठ ॥ १० ॥

Poetry hastily strung together, describing only what meets the eye, composed without devotion — this is called "dhit-path" poetry.

कामिक रसिक श्रृंघारिक । वीर हास्य प्रस्ताविक । कौतुक विनोद अनेक । या नाव धीटपाठ ॥ ११ ॥

Verses of erotic sentiment, aestheticism, romance, heroism, comedy, occasional pieces, admiration, and humor — all these fall under "dhit-path" poetry.

मन जालें कामाकार । तैसेचि निघती उद्गार । धीटपाठें परपार । पाविजेत नाहीं ॥ १२ ॥

As the mind is filled with desire, so its words come out; through "dhit-path" poetry one never reaches the far shore of liberation.

व्हावया उदरशांती । करणें लागे नरस्तुती । तेथें केली जे वित्पत्ति । त्या नाव धीटपाठ ॥ १३ ॥

To fill one's stomach one is made to praise mere mortals; the learning displayed in such flattery is also "dhit-path" poetry.

कवित्व नसावें धीटपाठ । कवित्व नसावें खटपट । कवित्व नसावें उद्धट । पाषांडमत ॥ १४ ॥

Poetry should not be of the "dhit-path" kind; it should not be labored or contrived; and it should not be the insolent poetry of heretical doctrine.

कवित्व नसावें वादांग । कवित्व नसावें रसभंग । कवित्व नसावें रंगभंग । दृष्टांतहीन ॥ १५ ॥

Poetry should not be argumentative, should not spoil the aesthetic mood, should not break the flow, and should not be bare of illustrative examples.

कवित्व नसावें पाल्हाळ । कवित्व नसावें बाष्कळ । कवित्व नसावें कुटीळ । लक्षुनियां ॥ १६ ॥

Poetry should not ramble on needlessly, should not be frivolous, and should not be deliberately devious in meaning.

हीन कवित्व नसावें । बोलिलेंचि न बोलावें । छंदभंग न करावें । मुद्राहीन ॥ १७ ॥

Poetry should not be of low quality; one should not repeat what has already been said, and its meter and distinctive stamp should not be broken.

वित्पत्तिहीन तर्कहीन । कळाहीन शब्दहीन । भक्तिज्ञानवैराग्यहीन । कवित्व नसावें ॥ १८ ॥

Poetry should not lack learning, logic, artistry, or command of language, nor should it be devoid of devotion, knowledge, and dispassion.

भक्तिहीन जें कवित्व । तेंचि जाणावें ठोंबें मत । आवडीहीन जें वगत्रृत्व । कंटाळवाणें ॥ १९ ॥

Poetry without devotion should be regarded as a crude, uninformed opinion; oratory delivered without love for the subject becomes merely tedious.

भक्तिविण जो अनुवाद । तोचि जाणावा विनोद । प्रीतीविण संवाद । घडे केवी ॥ २० ॥

Exposition without devotion should be taken as mere idle talk; how indeed can true dialogue occur without love?

असो धीट पाठ तें ऐसें । नाथिलें अहंतेचें पिसें । आतां प्रसादिक तें कैसें । सांगिजेल ॥ २१ ॥

Enough of that — "dhit-path" poetry is nothing but the vain madness of ego; now it shall be told what "prasadik," grace-born poetry, is like.

वैभव कांता कांचन । जयास वाटे हें वमन । अंतरीं लागलें ध्यान । सर्वोत्तमाचें ॥ २२ ॥

One to whom wealth, women, and gold seem as loathsome as vomit, and whose heart is absorbed in meditation on the Supreme.

जयास घडीनें घडी । लागे भगवंतीं आवडी । चढती वाढती गोडी । भगद्भसजनाची ॥ २३ ॥

One whose love for God deepens moment by moment, whose sweetness in devotional practice keeps growing ever more.

जो भगवद्भीजनेंवीण । जाऊं नेदी येक क्षण । सर्वकाळ अंतःकरण । भक्तिरंगें रंगलें ॥ २४ ॥

One who never lets even a single moment pass without devotion to God, whose heart is at all times dyed in the color of devotion.

जया अंतरी भगवंत । अचळ राहिला निवांत । तो स्वभावें जें बोलत । तें ब्रह्मनिरूपण ॥ २५ ॥

The one within whom God dwells unmoved and at peace — whatever he speaks naturally becomes an exposition of Brahman.

अंतरी बैसला गोविंद । तेणें लागला भक्तिछंद । भक्तीविण अनुवाद । आणीक नाहीं ॥ २६ ॥

One in whom Govind dwells within develops a passion for devotion alone; he has no other subject to speak of but that.

आवडी लागली अंतरीं । तैसीच वदे वैखरी । भावें करुणाकीर्तन करी । प्रेमभरें नाचतु ॥ २७ ॥

As the love within the heart is, so the voice speaks; he performs heartfelt, plaintive kirtan and dances in an overflow of love.

भगवंतीं लागलें मन । तेणें नाठवे देहभान । शंका लज्या पळोन । दुरी ठेली ॥ २८ ॥

The mind becomes so absorbed in God that awareness of the body vanishes; doubt and shame flee far away.

तो प्रेमरंगें रंगला । तो भक्तिमदें मातला । तेणें अहंभाव घातला । पायांतळीं ॥ २९ ॥

He is steeped in the color of love, intoxicated with the wine of devotion, and tramples his own ego underfoot.

गात नाचत निशंक । तयास कैचे दिसती लोक । दृष्टीं त्रैलोक्यनायेक । वसोन ठेला ॥ ३० ॥

Singing and dancing without any inhibition, he does not even notice the people around him; his gaze holds only the Lord of the three worlds.

ऐसा भगवंतीं रंगला । आणीक कांहीं नलगे त्याला । स्वैछा वर्णूं लागला । ध्यान कीर्ती प्रताप ॥ ३१ ॥

One so steeped in God needs nothing else; he begins to describe, freely and joyfully, God's form, glory, and might.

नाना ध्यानें नाना मूर्ती । नाना प्रताप नाना कीर्ती । तयापुढें नरस्तुती । त्रुणतुल्य वाटे ॥ ३२ ॥

Before the countless forms, meditations, deeds, and glories of God, the praising of mere mortals seems as worthless as a blade of grass.

असो ऐसा भगवद्भेक्त । जो ये संसारीं विरक्त । तयास मानिती मुक्त । साधुजन ॥ ३३ ॥

Such a devotee of God, dispassionate amid the world, is regarded by the saintly as one already liberated.

त्याचे भक्तीचें कौतुक । तयानव प्रसादिक । सहज बोलतां विवेक । प्रगट होय ॥ ३४ ॥

The wonder of his devotion is that his poetry becomes truly grace-born; even when he speaks casually, discernment shines forth.

ऐका कवित्वलक्षण । केलेंच करूं निरूपण । जेणे निवे अंतःकर्ण । श्रोतयांचें ॥ ३५ ॥

Now listen to the characteristics of true poetry, to be explained once more, in a way that brings peace and fulfillment to listeners' hearts.

कवित्व असावें निर्मळ । कवित्व असावें सरळ । कवित्व असावें प्रांजळ । अन्वयाचें ॥ ३६ ॥

Poetry should be pure, should be straightforward, and its construction should be simple and transparent.

कवित्व असावें भक्तिबळें । कवित्व असावें अर्थागळें । कवित्व असावें वेगळें । अहंतेसी ॥ ३७ ॥

Poetry should rest on the strength of devotion, its meaning should be rich and distinctive, and it should be entirely free of ego.

कवित्व असावें कीर्तिवाड । कवित्व असावें रम्य गोड । कवित्व असावें जाड । प्रतापविषीं ॥ ३८ ॥

Poetry should extend glory, should be delightful and sweet, and should be forceful and full when describing might and valor.

कवित्व असावें सोपें । कवित्व असावें अल्परूपें । कवित्व असावें सुल्लपें । चरणबंद ॥ ३९ ॥

Poetry should be easy to understand, should be concise in form, and its verses should flow with effortless ease.

मृदु मंजुळ कोमळ । भव्य अद्भुचत विशाळ । गौल्य माधुर्य रसाळ । भक्तिरसें ॥ ४० ॥

It should be gentle, melodious, and soft; also grand, wondrous, and expansive; and, steeped in the flavor of devotion, sweet and full of savor.

अक्षरबंद पदबंद । नाना चातुर्य प्रबंद । नाना कौशल्यता छंदबंद । धाटी मुद्रा अनेक ॥ ४१ ॥

Skillful arrangement of syllables and words, ingenious compositions of many kinds, clever meters, and varied styles and stamps — all these should mark good poetry.

नाना युक्ती नाना बुद्धी । नाना कळा नाना सिद्धी । नाना अन्वये साधी । नाना कवित्व ॥ ४२ ॥

Poetry should bring together manifold ingenuity, manifold intelligence, manifold skills, manifold accomplishments, and manifold well-connected forms of composition.

नाना साहित्य दृष्टांत । नाना तर्क धात मात । नाना संमती सिद्धांत । पूर्वपक्षेंसीं ॥ ४३ ॥

It should offer manifold literary illustrations, manifold logical arguments, and manifold established conclusions, set against the opposing view first stated fairly.

नाना गती नाना वित्पत्ती । नाना मती नाना स्फुर्ति । नाना धारणा नाना धृती । या नाव कवित्व ॥ ४४ ॥

Manifold movement, manifold learning, manifold wit, manifold inspiration, manifold power of retention, and manifold steadfastness — this is what deserves to be called true poetry.

शंका आशंका प्रत्योत्तरें । नाना काव्यें शास्त्राधारें । तुटे संशये निर्धारें । दिर्धारितां ॥ ४५ ॥

Doubts and questions should be answered through varied verses grounded in scripture; deep reflection upon them dispels uncertainty for good.

नाना प्रसंग नाना विचार । नाना योग नाना विवर । नाना तत्वचर्चासार । या नाव कवित्व ॥ ४६ ॥

Manifold occasions, manifold reflections, manifold yogic themes, manifold discussions, and the essence of philosophical inquiry — this is what poetry means.

नाना साधनें पुरश्चरणें । नाना तपें तीर्थाटणें । नाना संदेह फेडणें । या नाव कवित्व ॥ ४७ ॥

Manifold spiritual practices and repeated recitations, manifold austerities and pilgrimages, and the resolving of manifold doubts — this too is what poetry means.

जेणें अनुताप उपजें । जेणें लोकिक लाजे । जेणें ज्ञान उमजे । या नाव कवित्व ॥ ४८ ॥

That which awakens repentance, that which makes one feel ashamed of worldly life, and that which brings understanding — this is what poetry means.

जेणें ज्ञान हें प्रबळे । जेणें वृत्ती हे मावळें । जेणें भक्तिमार्ग कळे । या नाव कवित्व ॥ ४९ ॥

That which strengthens knowledge, that which stills the wandering mind, and that which reveals the path of devotion — this is what poetry means.

जेणें सद्बुवद्धि तुटे । जेणें भवसिंधु आटे । जेणें भगवंत प्रगटे । या नाव कवित्व ॥ ५० ॥

That which breaks the bondage of body-consciousness, that which dries up the ocean of worldly existence, and that through which God is revealed — this is what poetry means.

जेणें सद्बुतद्धि लागे । जेणें पाषांड भंगे । जेणें विवेक जागे । या नाव कवित्व ॥ ५१ ॥

That which brings right understanding, that which breaks down false and heretical views, and that which awakens discernment — this is what poetry means.

जेणें सद्वस्तु भासे । जेणें भास हा निरसे । जेणें भिन्नत्व नासे । या नाव कवित्व ॥ ५२ ॥

That which reveals the reality of the true Substance, that which dispels illusion, and that which erases the sense of separateness — this is what poetry means.

जेणें होये समाधान । जेणें तुटे संसारबंधन । जया मानिती सज्जन । तया नाव कवित्व ॥ ५३ ॥

That which brings inner contentment, that which breaks the bonds of worldly existence, and that which the wise and virtuous approve of — this is what deserves to be called poetry.

ऐसें कवित्वलक्षण । सांगतां तें असाधारण । परंतु कांहींयेक निरूपण । बुझावया केलें ॥ ५४ ॥

To fully describe the nature of true poetry is indeed an extraordinary task; still, this much has been explained here, so that it may be understood.