Study of Natural Sciences and Ancient Indian creative writers.  Dr. W. K. Lele  Retired Professor, Pune.

Almost all ancient Indian literary theorists have advised the creative writers to make a diligent study of various branches of knowledge before the latter actually commenced poetic compositions,(Bhanmaha), (Dandin), (Vamana),(Rudrata), (Rajaskhara), (Ksmendra), (Mammta) and others have exhorted the budding poets to learn Agriculture, Horticulture, Archery, Medicine, Astronomy, Mathematics, Economics, Fine Arts such as Music, Dance, Painting, along with Grammar, Semantics,, Prosody and Lexicon. The last four of these sciences have obviously a direct bearing on the Literary compositions. But one wonders whether the natural( positive and empirical sciences are related to poetic compositions. In view of these two questions cross an inquirer's mind : (i) Why were the poets expected to study positive and empirial sciences, Whether these two types of sciences were actually being put into practice by the poets. The present paper aims at attempting to answer these questions. 
 (i) Räjasekhara maintains that since poetry follows science, the acquisition of scientific knowledge by the poet precedes the actual composition. 
ii) Conversancy with the fundamental principles of scientific disciplines lends flawlessness and thoroughness to poetic description. 
(iü) According to Bhamaha, there is not a single word, nor a meaning /notion, nor a branch of knowledge, nor a fine art which does not form the subject matter of creative writing. 
(iv) (Yayarariya) upholds Bhamahas above view and adds that poetry is the resting place of all
sciences. The sixty four upavidyas are, as though, the livelihood of poetry. 
(v) The scientific knowledge helps a poet in ways more than one. 

3.(i) In his Rtusamhara, Kalidasa displays his knowledge of horticulture and     meteorology. 
   (ii) In his interrogative observation, (Kithatra citram yadi Visakhe sasankalekhamanuvartete -
Sakuntalam, Act III) Kälidasa shows his knowledge of astronomy. 
  (iii) Again, the said poet exhibits his conversance with the art of painting in the off-quoted stanzas, karya saikatatina etc. (Act VI, verse 17) and krtam na karnarpitabandhanam, ete. (Act VI, verse 18) of Sakuntalam. 
(iv) In Act II of his Mrcehakatikam, Sudraka displays his close knowledge of the subtle intricacies of the game at gambling (dyuta) and the ways of the gambles. 
(v) Narayana Pandita, the author of the Hitopadesa, evinces his knowledge of metallurgy (in`Sujarastu Kanakaghattavat durbhedyah ea asu samdheyah ' - p. 23) vehicular traffic ( in nodake
Sakatam yatina ca naurgachati sthale - p. 22) science of medicine
( in ' na hyausadhaparijnanadvyadheh santih kvacidbhavet -p. 96), zoology ( in `ajagalastanasyeva tasya
janma nirarthakatti p. 3) and botany [in 'dhatyantargataseaiva Suskam vrksamivsnalah ' - p. 94. )

Thus it can be concluded that the poets' knowledge of various disciplines was literally a sine qua non in he field of intellectual activity known as ' Creative Writing'.